-&..^ 


HY 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


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Elements  of  Tachygraphy. 


ILLUSTRATING   THE 


FIRST   PRINCIPLES   OF  THE  ART, 


THEIR  ADAPTATION  TO  THE  WANTS  OF  LITERARY,  PROFESSIONAL, 
AND  BUSINESS  MEN. 


DESIGNED   AS 


A  TEXT-BOOK  FOR  CLASSES  AND  FOR  PRIVATE  INSTRUCTION. 


BY 

DAVID  PHILIP  LINDSLEY. 


THIRD  EDITION. 


BOSTON: 

OTIS   CLAPP  &   SON,   3  BEACON   STREET. 

1873. 


Entered,  according  to  Act  of  Congress,  in  the  year  1869,  by 

D.  P.  LINDSLEY, 

In  the  Clerk's  Office  of  the  District  Court  of  the  District  of  Massachusetts. 


Entered  according  to  Act  of  Congress,  In  the  year  1873,  by  D.  P.  Lutdbut,  in  the 
Office  ot  the  Librarian  of  Congress,  at  Washington. 


Boston  : 
Stereotyped  by  C.  J.  Peters  &  Son- 


To 

The  Mon.    Abijah    Catlin, 

OF  CONNECTICUT, 

WHOSE  AID  AND  SYMPATirV  PAVED  THE  WAY   FOR  THE    FIRST 

INTRODUCTION  OF  TACHYGRAPHY. 

WHICH,   WITHOUT   HIS   PATRONAGE,    MIGHT   HAVE   BEEN 

long  buried  in  obscuritv', 
This  Volume 

IS    GRATEFULLY    INSCRIBED    BY 
THE  AUTHOR. 


PREFACE. 


The  system  of  hrief  writing,  explained  in  the  following 
pages,  was  mainly  developed  during  the  years  1857  to  1862. 
The  delay  in  its  publication  has  contributed  somewhat  to 
its  perfection. 
^       A  brief  and   imperfectly-illustrated    compend  was   pub- 
lished in  1864,  which  was  so  favorably  received,  even  by 
15    men  long  trained  in  the  old  systems,  and  so  generously  com- 
J^'    mended  by  the  most  respectab!*-  portion  of  the  public  press, 
~'    that  the  author  was  encouraged  to  labor  for  the  fuller  devel- 
opment of  the  system,  and  its  general  introduction,  although 
^    such  labor  was  a  sacrifice  he  could  not  well  afford  to  make. 
et        Propagated,  mainly,  by  the  enthusiastic  and  unremunerat- 
5     ed  labors  of  those  who  have  seen  in  the  art,  in  its  present 
simplified  form,  a  new  instrument  for  the  elevation  of  the 
human  race,  it  has  spread,  without  attracting  much  public 
^    notice,  aiding   the    student   in   preserving  his  lectures,  the 
p    clergyman  in  preparing  his  discourses,  as  well  as  the  verba- 
^    tim  reporter  in  his  work. 

Those  who  have  cultivated  it  believe  it  capable  of  more 
extended  usefulness.  The  author  has  been  urged  repeated- 
ly, and  by  men  from  nearly  all  sections  of  the  country,  to 
provide  a  work  sufficiently  elaborate  to  furnish  a  complete 
guide  to  those  who  have  no  chance  to  secure  the  services  of 
an  instructor.  Although  he  believes  sincerely  that  a  reli- 
1*  5 

44y48u 


6  PREFACE. 

ance  upon  books  instead  of  teachers  is  false  in  theory,  and 
likely  to  be  unsatisfactory  in  its  results,  yet  he  has  been 
compelled  to  acknowledge  the  propriety  of  providing  teach- 
ers with  better  facilities  than  they  have  heretofore  had. 

This  work  is,  then,  prepared  principally  as  a  text-book, 
for  use  by  competent  and  thoroughly-trained  instructors  ; 
yet  nothing  has  been  omitted  that  was  thought  necessary  to 
render  it  a  complete  guide  to  those  wlio  were  compelled  to 
rely  entirely  upon  it. 

In  the  first  three  chapters  is  given  a  brief  illustration  of 
those  fundamental  principles  upon  which  the  art  must  always 
rest.  Some  of  these  principles  were  understood  many 
years  ago  by  the  better  writers  of  the  old  systems ;  and 
those  never  fully  incorporated  in  any  previous  system  had 
been  diligently  sought  for,  and  would  be  hailed  with  delight 
by  writers  who  saw  through  the  obscurity  of  their  best  ef- 
forts the  brightness  of  a  coming  success,  for  which  they 
could  only  pave  the  way.  It  is  not  proper  that  we  should 
be  filled  with  pride,  who  enter  thus  into  the  laTbors  of  others  : 
it  is  more  fitting  that  we  should  seek  to  exalt  those  who 
have  borne  the  burden  of  cultivating  a  science  that  comes 
to  fruitage  only  after  several  centuries  have  contributed  to  its 
growth. 

The  two  great  principles  of  continuity  and  lineality, 
secured  in  Tachygraphy  by  connective  vowels  and  a  skilful 
arrangement  of  the  consonant  letters,  had  been  apprehended 
by  some  of  the  stenographic  writers,  but  were  overlooked 
by  phouographers.  But  these  principles  could  not  be  em- 
bodied in  the  old  systems  successfully.  It  was  necessary 
that  the  accuracy  first  secured  by  Isaac  Pitman,  Esq.,  the 
noble  inventor  of  Phonography,  should  be  united  to  the 
severe  simplicity  of  the  best  stenographies. 

It  was  originally  designed  to  give  in  notes  the  reasons 


PREFACE.  7 

for  deviating  in  all  important  cases  from  the  practice  of 
former  writers,  whether  stenographers  or  phonographers. 
This  has  been  done  in  a  few  instances ;  but  it  was  feared 
that  such  details,  that  must  be  merely  negative  at  best, 
would  tend  rather  to  embarrass  than  to  aid  t^e  student. 

The  practice  of  the  art  commences  with  Chapter  IV.,  in 
which  is  given  the  method  of  learning  the  alphabet,  and  of 
applying  the  new  letters  to  the  sounds  they  represent. 

The  writing  exercises,  commenced  in  Chapter  VI.,  form 
a  necessary  part  of  the  work.  Only  by  writing  these  exer- 
cises, in  connection  with  the  study  of  the  principles,  can  the 
student  fully  understand  the  text. 

It  has  "been  thought  better  to  introduce  these  writing  ex- 
ercises where  they  were  needed  by  the  student,  than  to  add 
them  as  an  appendix.  In  this  we  have  consulted  utility 
rather  than  the  beauty  of  the  work. 

It  was  necessary,  however,  to  place  the  reading-lessons  in 
the  end  of  the  volume,  because,  being  printed  from  engrav- 
ings on  copper,  it  was  inconvenient  to  insert  them  in  con- 
nection with  the  text  they  were  designed  to  illustrate. 

They  were  engraved  by  Mr.  Chauncy  B.  Thorne,  whose 
skill  in  engraving  short-hand  has  done  much  to  beautify 
the  science  in  its  older  forms. 

The  wood-engravings  scattered  throughout  the  work  are 
by  the  skilful  hand  of  Mr.  Richard  B.  Dyer  of  Boston. 

It  remains  only  to  add,  that  tiiis  work  is  designed  for 
ordinary  practical  men,  who  wish  to  gain  the  greatest  speed 
in  writing,  with  the  least  outlay  of  time  and  labor.  Such 
men  will,  we  trust,  be  satisfied  with  it.  There  are,  however, 
two  classes  whose  wants  will  not  be  fully  met.  The  first 
are  those  who  care  little  for  speed,  but  desire  to  designate 
all  the  sounds  in  the  language,  and  even  in  some  foreign  lan- 
guages, with  great  accuracy.     To  accommodate  these,  a  Lit- 


8  PREFACE. 

ERART  Style  was  devised  several  years  ago.  But  tliis 
class  have  not  yet  learned  to  rely  upon  short-hand  to  any 
great  extent.  If  they  ever  demand  such  a  style,  it  will  be 
published.  The  second  class  will  desire  a  briefer  style,  for 
verbatim  reporting.  For  these,  two  briefer  styles  luiva 
been  prepared  (ao  yot  unpublioheJ),  called  the  Note- 
Taker's,  and  theflBAil  liE^KTiNGVthe  first  capable  of  being 
written  at  the  rale'^Ol  a  hundred  and  twenty  to  a  hun- 
dred and  fifty  words  a  minute,  and  the  second  from  a  hun- 
dred and  fifty  to  a  hundred  and  eighty,  or  faster.  But  it 
must  not  be  supposed  that  a  person  will  necessarily  write 
more  rapidly  in  one  of  these  styles  than  in  the  style  given 
in  the  following  pages.  Men  in  the  liberal  professions,  or 
in  business,  whose  time  is  mainly  engrossed  in  duties  that 
render  any  especial  attention  to  the  mere  manner  of  writing 
impossible,  cannot  retain  a  greater  speed,  ordinarily,  than 
eighty  to  ninety  words  a  minute ;  and  this  speed  they  will 
gain  more  surely  in  this  style  than  in  any  other.  If,  dissat- 
isfied with  this,  they  cultivate  a  reporting  style,  instead  of 
increasing  their  speed,  as  they  hope  to  do,  they  will,  in  nine- 
ty-nine cases  in  every  hundred,  find  themselves  laboring 
through  reporting  contractions  at  the  rate  of  forty  to  fifty 
words  per  minute,  or  even  more  slowly  than  this,  and  have 
the  additional  disadvantage  of  writing  an  illegible  style.  If 
such  men  really  wish  to  increase  their  speed  of  writing,  they 
can  do  it  most  certainly  by  adhering  to  the  simplest  forms, 
increasing  their  speed,  as  they  do  in  the  common  writing, 
by  great  familiarity  with  first  principles.  They  may  in  this 
way  extend  the  power  of  the  common  style  of  Tachygrapliy 
as  liere  given,  to  almost  any  desired  degree.  Some  students 
liave  found  it  adequate  for  nearly  verbatim  reports  of  lec- 
tures and  sermons ;  and  the  author,  after  eighteen  years' 
experience    in   the   briefest    contractions,   finds    this   style 


PREFACE.  y 

best  adapted  to  the  work  of  a  clergyman.  The  experience 
of  many  persons  confirms  this  opinion.  Among  them  the 
author  is  permitted  to  mention  the  Rev.  A.  T.  Clark,  who 
took  an  entire  course  of  theological  lectures,  and  now  writes 
all  his  discourses,  in  the  style  taught  in  this  volume,  and  has 
found  it  brief  enough  for  all  the  purposes  of  note-taking. 
He  prefers  it  to  the  briefer  styles  which  he  previously 
learned.  The  Rev.  Peter  Vogel  gives  similar  testimony  to 
the  peculiar  value  of  this  style  for  the  use  of  clergymen  ; 
and  Mr.  M.  F.  Tyler  used  it  with  the  fullest  success  during 
his  studies  at  Yale  College  and  Law  School,  reporting,  be- 
sides entire  courses  of  lectures,  sermons,  conventions,  &c. 
All  these  persons  spent  much  time  with  briefer  styles  before 
falling  back  upon  the  plain  and  fully  written  forms ;  and 
such  has  been  the  experience  of  many  others.  Still  there 
are  some  students,  and  some  professional  men,  who  will  pre- 
fer the  briefer  forms  of  the  Note-Taker's  Style.  Such 
persons  are  referred  to  the  Second  Part  of  this  treatise, 
published,  for  convenience,  in  a  separate  volume. 

Wishing  the  students  of  this  little  treatise  a  new  life  and 
joy  in  the  truth  and  beauty  of  the  principles  here  unfolded, 
it  is  commended  to  their  love,  with  the  ardent  hope  that  it 
may  give  them  leisure  and  ability  to  enter  farther  than  they 
otherwise  could  have  done  into  those  beauties  of  science, 
opening  on  every  hand,  which  speak  of  a  Divine  wisdom 
and  love,  inexhaustible  and  eternal. 

The  Author. 


CONTENTS. 


Page.    Sect 

IsTBODucnoir  ............15 


CHAPTER  I. 

THE  ORIGIN  OF  THE  BRIEF  I,ETTEBS.  29 

Straight  lilnea  and  Curves ,  g 

HaLf-CircIea  and  Dasbea ,•  9 

CHAPTER  n. 

THE  SOUNDS  TO  BE  REPRESENTED.  33 

Number  of  the  Consonantal  Sounds      .......  13 

Number  of  the  Vowel-Sounds 14 

CHAPTER  in. 

THE  NEW  LETTERS  APPLIED.  34 

Letters  paired 23 

Abrupts  and  Continuants 26 

Lineality  of  "Writing 27 

Consonants  grouped. — Labials,  Lingua-Dentals,  and  Gutturals        .  28 

Summary  of  Principles  29 

Application  of  Principles 30 

Signs  for  the  Vocal  Sounds      . ,  82 

11 


12  CONTENTS. 

CHAPTER  IV. 

DIBECTIOMS  FOB  PRACTICE.  44 

Bxerciae  on  the  Straight  Signs 42 

The  Souuds  uf  these  Letters 44 

Exercise  on  the  Curved  Signs 46 

The  Sounds  they  represeo*      .                .        *       t        i        •        •        .  48 

The  Liquids  and  Jng •....  51 

WaAttA  Ta 52 

Ja  and  Cha 5? 

The  Direction  in  which  the  Letters  are  written 54 

Size  of  the  Letters 56 

Variations  of  Vocal  Signs 68 

Size  of  the  Vocal  Signs 62 

CTLAPTER   V. 

METHOD  OF  JOIMIKO  THE  IfTTEBS.  50 

Connecting  the  Semicircles 65 

Dash  Letters 66 

Diamond  Points 70 

The  Joining  of  Full-sized  Letters 72 

Angles 73 

Riglit  Lines  joined  with  Curves 74 

The  Joining  of  Curves. — Facing  Curves 78-SO 

Opposing  Curves 81, 82 

Curves  repeated        ..,., 83 

Straight  Lines  repeated 84 

Vocals  joined  with  Vocals 85 

Disjoined  Vocals 87 

The  Connecting  Stroke •       .       •  05 

CHAPTER  VI. 

METUOD     OF     STODT.  -        59 

Writing  Exercises ,  loO 

A  Scheme  for  rendering  the  Sounds  of  the  Old  Letters  more  definite,  101 


CONTENTS. 


13 


CHAPTER  Vn. 

coNSONA:^^^AI.  diphthdngs.  60 

Initial  compounds,  X,  R,  and  S  Series 106-7 

Triphthongs 108 

Qu  and  Compounds,  with  W 109 

Wha  and  Ha     .        . 110 

Final  Compounds.  —  L  and  R  Series Ill 

,Sr  Series 112 

The  Circle  with  the  Small  Dot  Vowel 113 

CHAPTER   Vm.  80 

The  Omission  of  Vowels.    Omission  of  Obscure  Vowels  in  Long 

Words 114 

The  Omission  of  Vowels  in  Short  Words  of  Frequent  Occnrrence   .  113 


CHAPTER  EX. 

PHEASE-WKITING.  86 

Pffirases   determined   by,   Ist,   The    Convenience    of  the  Writer; 

2d,  The  Convenience  of  the  Reader 116 

Key  to  Paragraph  92,  Reading-Lessons 116 

Abbreviated  Words  and  Phrases 117 

Key  to  Paragraphs  93  and  94,  pages  15  and  16  of  Reading-Lessons    .  117 


CHAPTER  X. 

THE  VARIABLE  LETTEBS.  00 

Equivocal  Word-Forms 118 

Variable  Letters 119 

Em,  El,  Ar,  Ma,  La,  and  Ra 120 

Special  Cases ••.  121 

Ith  and  The,  Tha,  and  aa •       .  122 

2 


14  CONTKNTS. 

Principles  determining  the  Use  of  the  Variable  I^etters      .       .       .  123 

^..  Right  lines  joined 

B.  Right  lines  joined  with  Curves 

C.  Curves  joined  with  Curves.    1.  Facing  Curves.    2.  Opposing 
Curves 

Exercise  Twenty-sixth 

Key  to  pages  10  and  11,  Reading-Lessons 

CHAPTER  XI. 

CONCLUDINa  INSTRBCTION8.  90 

Bpccial  Coses  of  Difficulty  in  Phonetic  Spelling 124 

Double  Consonants 124  a. 

The  Letter  N  before  K,  G,  See 124  b 

The  Letter  C 124  c. 

The  Letter  X 124  d. 

Punctuation 125 

Slauual  Drill 126 

Exorcise  Twenty-seventh 126 

Fucility  iu  Reading' .  127 

Conclusion 123 

APPENDIX.  103 

The  PoKJtioD  of  Outlines 129 

The  New  Sign  for  IHui 134 

The  Vowel  P.  — How  Written 137 

Abbreviated  Forms  for  -ness  and  -lesg 141  a. 

The  Use  of  the  Circle  with  the  Vowels  6  and  fi 141  b. 

I'lie  Double  Circle Hi 

The  I'refixes  dis-  and  mis- 143 

The  Termination  -son 144  n. 

The  Terniiuatiou  -ing •  144  h. 


INTRODUCTION. 


Inventions  are  the  levers  that  move  the  world.  Every 
step  ia  the  advancement  of  mankind  from  barbarism  to  civ- 
ilization is  marked  by  the  application  of  some  new  power, 
by  which  the  force  of  body  or  of  mind  may  be  greatly  aug- 
mented. 

The  puny  arm  of  man  has  been  relieved  from  nearly  all 
kinds  of  drudgery  by  the  power  of  water  and  of  steam,  and 
the  ten  thousand  contrivances  by  which  that  power  is  ap- 
plied. We  have,  conquered  matter,  not  by  growing,  as  the 
fabled  giants  of  old  did,  till  we  could  pile  mountain  upon 
mountain  by  our  unaided  strength,  but  by  learning  how  to 
apply,  in  a  wonderful  manner,  the  strength  that  God  has 
given  us. 

Though  we  depend  upon  facilities  to  aid  in  mental  and 
moral  advancement,  as  much  as  in  physical,  yet  we  have 
been  slow  to  apply  to  the  mental  and  moral  elevation  of  the 
race  the  principles  that  have  enabled  us  to  develop  our  ma- 
terial resources. 

Inventions  to  aid  in  the  commerce  of  ideas  are  no  less 
essential  than  those  which  we  have  realized  in  the  inter- 
change of  coarser  commodities.  The  art  of  writing  was 
the  original  lever  by  which  the  race  was  at  first  raised  above 
barbarism.  Successive  improvements  in  this  art  have 
laarked  the  epochs  of  the  greatest  mental  activity. 

If 


16  INTRODUCTION. 

The  invention  and  use  of  sliort-hand  writing  paved  the 
way  for  the  introduction  of  Christianity,  and  aided  its  diffu- 
sion wonderfully.  Verbatim  reporters  were  common  in  the 
age  of  the  apostles ;  and  the  sayings  of  the  martyrs  would 
never  have  been  preserved  without  this  instrumentality. 
Those  heroic  men  who  battled  so  nobly  with  pen  as  well 
as  tongue  in  upholding  Christianity  against  the  wisdom  of 
the  Pagan  world,  relied,  in  some  instances,  on  their  staff  of 
Bwift  writers  as  a  means  without  which  they  would  have 
accomplished  but  little. 

During  the  darkness  of  the  middle  ages,  from  the  fifth 
to  the  fifteenth  century,  short-hand  slept,  and  the  intellect  of 
the  world  slept  with  it ;  but,  with  the  new  life  of  the  six- 
teenth century,  short-hand  revived,  never,  we  trust,  to  be 
again  obscured. 

It  would  be  necessary,  to  a  full  understanding  of  the  pres- 
ent position  of  the  art,  to  trace  the  gradual  unfolding  of  its 
principles  during  the  three  centuries  past.  The  devotion, 
zeal,  faith,  and  patience  that  have  been  called  out  by  the 
art  are  not  surpassed  in  the  records  of  any  of  the  nat- 
ural sciences.  That  the  art  is  a  science,  with  laws  based  in 
Nature,  cannot  be  doubted  by  any  one  who  studies  its  history, 
or  even  acquires  its  principles  in  accordance  with  its  more 
rational  forms  of  development.  And,  if  any  are  discour- 
aged by  the  long  delay  of  its  success,  and  the  many  failures 
that  it  has  experienced,  they  should  recollect  that  steam  navi- 
gation and  locomotion  were  as  long  unproductive  of  great 
results. 

But  we  cannot  here  enter  into  the  history  of  the  art.  It 
may  be  many  years  before  the  labor  necessary  to  do  justice 
to  such  a  history  can  be  employed  to  advantage.  The  pen 
seems  to  have  been  very  chary  of  the  records  of  its  own 
achievements  ;   and  the  great  mass  of  men  take  the  advan- 


ADVANTAGES  OF  SHORT-HAND.  17 

tages  of  writing,  even  in  the  common  form,  as  they  do  the 
air  of  heaven,  without  stopping  to  thank  the  Giver  of  all 
good,  or  to  ask  when,  where,  or  how  so  wonderful  a  facility 
was  discovered,  who  sacrificed  their  lives  in  its  introduc- 
tion, who  aided  its  development,  or  how  it  gradually  grew 
into  its  present  form.  In  the  glory  of  the  results,  we  forget 
the  instruments,  and  become  insensible  of  cur  dependence 
upon  them. 

The  advantages  of  brief  and  rapid  writing  may  be  made 
available  in  two  ways  ;  1st,  By  the  means  of  experts  in  its 
use,  who  act  as  reporters  of  popular  assemblies,  and  aman- 
uenses for  literary  men  ;  and,  2d,  By  its  general  introduction 
among  all  classes  of  people. 

The  advantages  of  the  art  have  been  secured,  to  some 
extent,  by  reporters  for  the  press,  and  by  amanuenses  ;  but 
this  success  is  still  partial.  Less  than  one  in  ten  of  our 
newspaper  reporters  have  heretofore  been  able  to  make  the 
art  available  ;  while  very  few  of  our  literary  and  business 
men  seem  conscious  of  the  vast  relief  from  toil,  and  the 
great  augmentation  of  their  power,  that  they  might  effect 
by  the  employment  of  short-hand  writers.  A  business-man 
can,  in  this  way,  dictate  answers  to  his  correspondents  in  a 
few  minutes,  that  would  require  five  times  as  long  to  write 
out  in  the  usual  way ;  and  thus  save,  at  little  expense, 
several  hours  of  valuable  time  each  day.  And  the  literary 
man  may  dictate  a  work,  not  only  with  the  freedom  of  ex- 
temporary discourse,  but  in  a  more  satisfactory  form  tlian 
he  could  write  it. 

To  the  orator,  whether  discoursing  on  sacred  or  secular 
topics,  this  means  of  preparing  discourses  would,  at  least, 
treble  his  capacity  for  usefulness,  and  add  to  the  freshness 
and  vivacity  of  his  discourses  as  much  as  to  the  ease  of 
preparing  them. 


18  INTRODUCTION. 

For  these  uses,  the  old  and  complicated  forms  of  the  art 
have  answered  to  some  extent.  Though  very  imperfect  for 
such  yses,  still,  by  a  careful  preparation  of  three  to  five 
years,  young  men  of  sufficient  natural  aptitude  have  become 
qualified  for  such  service  by  the  use  of  Phouograpliy. 
Still,  the  introduction  of  the  more  facile  and  legible  styles  of 
Tachygruphy  is  demanded  to  render  short-hand  a  complete 
success  in  this  department  of  its  use.  The  art  cannot  per- 
form all  that  it  is  capable  of  doing,  until  all  our  newspaper 
reporters,  and  all  our  amanuenses  and  private  secretaries, 
are  able  to  bring  it  into  their  service.  Most  of  them  could 
not  afford  to  spend  the  great  amount  of  time  and  labor 
necessary  to  master  the  art  in  its  previously-complicated 
forms ;  and  besides,  when  they  did  devote  years  of  labor 
to  its  acquisition,  they  found  it  too  imperfect  and  illegible  to 
answer  perfectly  the  purpose  for  which  they  acquired  it. 
But  the  labor  of  acquiring  the  art  in  its  present  form,  as 
explained  in  the  following  work,  is  so  greatly  lessened,  and 
its  efficiency  and  accuracy  so  much  increased,  that  all 
classes  of  amanuenses  and  newspaper  reporters  may  avail 
themselves  of  its  advantages. 

But  this  is  not  the  most  important  service  which  the  art 
can  render.  Thought  cannot  live  without  expression.  All 
acknowledge  that  education  is,  to  a  great  degree,  a  drawing- 
out,  or  developing,  of  the  faculties  of  the  mind  ;  and  yet  such 
arc  our  educational  facilities,  that  it  is  very  difficult  to  do 
this.  We  are  well  supplied  with  books,  and  every  facility 
necessary  for  furnishing  mental  food ;  but  aids  to  mental  dl- 
gestion&re  few.  Students  in  our  schools  are  expected  to  put 
their  own  thoughts  in  order ;  but  such  is  the  labor  and  time 
required  to  perform  the  mechanical  part  of  this  work,  that 
tlie  active  youth  is  soon  disgusted  with  the  effort. 

But  let  all  our  students  become  skilful  writers  of  T;i- 


SHORT-HAND   FOR   STUDENTS.  19 

chygraphy,  and  writing  will  be  a  pleasure,  instead  of  a  drudg- 
ery. The  value  of  this  means  will,  of  course,  depend 
largely  upon  the  appreciation  and  skill  of  the  teacher  in 
using  it ;  but,  properly  employed,  it  will  add  greatly  to  suc- 
cess in  the  higher  departments  of  education.  Especially  in 
colleges  and  professional  schools,  lectures  that  are  now  for- 
gotten as  soon  as  heard  will  be  preserved  for  use  in  after- 
life. 

This,  however,  is  not  the  only  use  of  the  art  in  education. 
By  converting  what  is  now  a  drudgery  into  a  pastime,  a 
healthy  mental  activity  is  promoted.  The  passionate 
interest  taken  in  the  beauty  and  grace  of  the  short-hand 
characters  is  such  as  .is  called  out  in  the  study  of  the  fine 
arts,  — ^painting,  sculpture,  and  music. 

There  is  still  a  broader  field  of  usefulness  for  short-hand 
than  the  educational  field.  The  art  can  never  be  useful  to 
the  highest  degree,  until  all  classes  of  people  are  instructed 
in  its  use.  It  will  then  be  a  social  power  wholly  incalcula- 
ble. We  are  strangers  to  the  thoughts  of  our  friends,  and 
must  remain  so  until  this  wonderful  art  shall  unseal  the 
fountains  of  affection,  and  bring  those  nigh  that  have  been 
widely  separated.  Letters  of  friendship  have  grown  few 
and  brief.  Correspondence  has  been  mainly  confined  to 
business  that  must  be  done.  All  that  is  genial  and  invigor- 
ating in  the  interchange  of  thought  has  been  frozen  in  the 
tediousness  of  utterance. 

When  Tachygraphy  shall  be  generally  known  and  used, 
an  electric  thrill  of  life  will  run  through  our  communities, 
awakening  new  sympathies,  and  forming  bonds  of  uuion 
long  dissevered.  What  railroads  have  done  in  bringing 
friends  together  that  could  otherwise  never  interchange  a 
visit  during  a  lifetime,  brief  writing  will '  do,  in  bringing 
minds  together  that  would,  without  it,  communicate  with  too 


£0  INTRODUCTION. 

much  difficulty  to  be  able  to  continue  the  acquaintance  begun 
in  youth  ;  and  aid  in  extending  that  more  valuable  inter- 
change of  thought  among  those  of  similar  tastes,  which 
tends  both  to  the  perfection  of  our  knowledge  of  science, 
and  its  general  diffusion. 

Let  us  suppose,  for  illustration,  that  all  mankind  spoke 
with  the  slowness  and  painful  effort  with  which  we  record 
language.  Suppose  we  were  obliged  to  spell  every  Avord 
by  naming  its  letters,  in  order  to  talk ;  thus,  I-u  in,  t-h-e 
the,  b-e  be,  g-i-n  gin,  n-i-n-g  ning,  beginning,  G-o-d,  c-r-e- 
a-t-e-d,  t-h-e,  h-e-a-v-e-n-s,  a-n-d,  t-h-e,  e-a-r-t-h,  &c. : 
how  long  Avould  conversation  be  tolerated  in  this  age? 
Suppose,  then,  that  this  race  of  sen\i-mutes  should  be  en- 
dowed with  speech,  with  our  present  fluency ;  the  new  life 
that  would  burst  forth  in  one  universal  shout  of  thanksgiv- 
ing would  indicate,  in  part,  the  rapture  of  the  freedom  in- 
troduced by  the  general  use  of  brief  writing. 

The  blessings  of  human  speech  are  incomparably  great. 
Nothing  can  take  the  place  of  that  free  and  unfettered  inter- 
course in  which  soul  blends  with  soul.  But  speech  dies  on 
the  air,  and  is  lost ;  while  writing  may  fly  on  the  wings  of 
the  wind  to  any  part  of  the  earth,  and  may  be  preserved,  if 
desired,  for  coming  generations. 

But,  it  may  be  asked,  can  this  brilliant  couceptiou  be 
realized?  We  answer.  Most  undoubtedly.  It  is  not  even  a 
difficult  thing  any  longer.  The  only  difficulty  was  in  the 
discovery  of  a  really  practical  style  of  brief  writing.  Tiiis 
was  difficult ;  for  it  required  thegrowtii  of  several  centuries 
to  bring  it  to  perfection.  But  that  difficulty  has  been  finally 
removed.  Tachygraphy  can  he  reduced  to  praiti'-e  with  far 
less  labor  than  the  chirography  now  employed.  If  intro- 
duced to  children  at  a  proper  age,  they  would  become  as 
proficient  in  its  use,  witli  one  year's  pracUv'e,  as  they  now 


TACHYGRAPHY  PRACTICABLE.  21 

become  in  our  common  chirography  with  the  labor  of  seve- 
ral years.  Besides,  it  would  be  to  them  an  inspiratioa 
and  a  joy,  instead  of  a  drudgery,  and  aid  them  to  under- 
stand those  general  principles  of  language  which  are  ob- 
scured by  our  present  orthography. 

The  style  best  adapted  to  general  use  is  fully  written,  and 
more  legible  than  our  present  character.  In  its  fullest  form, 
it  is  written  three  times  as  rapidly  as  the  common  writing, 
while  the  labor  saved  is  greater  in  proportion  than  the  time. 
The  hand  is  obliged,  in  Tachygraphy,  to  make  only  one-fifth 
as  many  strokes,  and  to  move  over  only  one-ninth  the  dis- 
tance, in  writing  a  given  paper,  that  would  be  necessary  iu 
writing  the  same  thing  in  the  usual  way. 

The  fully-written  style  of  Tachygraphy,  as  illustrated  in 
this  volume,  must  not  be  confounded  with  those  briefer 
styles  designed  for  the  use  of  reporters.  We  do  not  estimate 
here  the  speed  and  brevity  of  those  more  contracted  styles  ; 
for  they  are  not  adapted  for  general  use. 

The  use  of  stenographic  contractions  of  any  kind  must 
always  be  limited  ;  and  the  introduction  of  such  styles,  in 
connection  with  those  of  general  utility,  is  to  be  regretted, 
as  it  gives  occasion  for  the  supposition  that  the  art  is  mainly 
designed  for  such  professional  service. 

In  the  styles  of  short-hand  heretofore  offered,  legibility  has 
been  sacrificed  to  brevity,  and  the  wants  of  the  many  to  the 
demands  of  the  professional  reporter.  But  these  works 
have  professed  to  offer  advantages  to  all,  and  have  been 
eagerly  sought  for  by  all  classes  of  people.  Though  we  have 
no  means  of  making  accurate  statistics  on  this  subject,  yet, 
from  the  enormous  sale  of  some  editions  of  the  text-books 
on  Mr.  Pitman's  phonography,  we  have  reason  to  believe 
that  at  least  half  a  million  of  text-books  have  been  sold  during 


22  INTRODUCTION. 

the  past,  twenty-eight  years.*  Half  a  million  of  experiments 
would  satisfy  any  scientist  as  a  basis  for  generalization. 
Now,  what  does  the  result  show  in  favor  of  the  attempt  to 
introduce  stenographic  peculiarities  for  the  general  pur- 
poses of  writing?  Probably  not  more  than  five  hundred 
persons  of  the  five  hundred  thousand  persons  procuring  these 
works  have  become  really  expert  in  the  use  of  them.  One  in 
every  thousand  has  attained  the  skill  sought  for  in  the  use  of 
a  style  adapted  only  to  reporters.^  Perhaps  five  hundred, 
or  possibly  a  thousand  more,  have  gained  a  degree  of  speed 
equal  to  what  they  might  have  acquired  in  a  simpler,  plainer 
style  ;  while  at  least  four  hundred  and  ninety-eight  thousand 
failed  to  make  it  answer  the  end  for  which  they  sought  it. 
Must  the  millions  be  deprived  of  this  art  simply  because  they 
cannot  thx*ead  the  mazes  of  the  ai'bitrary  contractions  de- 
signed for  professional  reporters?  Such  a  conclusion  would 
be  no  more  reasonable  than  to  assume  that  it  was  impossi- 
ble to  found  a  city,  because  it  was  found  impossible  to  draw 
together  a  very  large  number  of  persons  on  the  top  of  the 
White  Mountains  ;  or  to  deny  that  a  railroad  was  practica- 
ble after  a  mountain  had  been  tunnelled,  simply  because 
no  train  of  cars  could  be  drawn  over  its  highest  peak. 

The  author  of  Tachygraphy  has  continually  endeavored 
to  keep  within  the  bounds  of  actual  achievement  in  stating 
the  capacities  of  the  art.  Those  who  have  spent  much  time 
in  the  study  of  Phonography,  to  but  little  purpose,  may  still 
make  this  study  productive,  by  applying  the  knowledge  of 

*  Most  of  these  works  were  published  in  Englanrl.  Probably,  however, 
two  hundred  and  fifty  thousand  copies  have  been  sold  in  this  country, 
counting  those  published  here  and  imported  from  England. 

t  Though  the  author  has  not  been  able  to  collect  entirely  accurate  de. 
tails  on  this  suljject,  yet  he  has  gathered  facts  from  teachers  of  Phonog- 
raphy, tliat  give  a  degree  of  definiteness  to  these  estimates.  The  facts  are 
too  notorious  to  be  doubted  by  those  who  have  attended  to  the  subject. 


BRIEF  WORD-FORMS  SEDUCTIVE.  23 

the  principles  of  the  art  gained  in  this  way  to  the  practice  of 
Tachygraphy.  Those  who  have  spent  from  five  to  twelve 
years  in  the  practice  of  Phonography  have  found,  that,  so  far 
from  being  hindered  by  this  in  acquiring  Tachygraphy,  their 
previous  practice  of  a  different  style  was  a  great  aid  to 
them.  When  the  hundreds  of  thousands  who  have  invested 
in  Phonography  a  capital  of  labor  that  is  not  now  available 
shall  follow  the  example  of  those  who  have  already  tested 
the  matter,  they  will  find  that  their  former  painful  labor  has- 
become  highly  productive ;  and  that  the  years  which  they 
had  counted  lost  are  restored  again  with  an  unexpected  in- 
crease. 

Experience  is  more  reliable  than  theory  ;  and  the  practi- 
cal success  of  a  particular  method  is  of  more  value  than 
any  explanation  of  the  philosophy  by  which  that  success 
is  gained.  Yet  the  seductiveness  of  brief  forms,  attained  at 
no  matter  how  much  sacrifice  of  simplicity  or  legibility,  is 
so  great,  that  those  with  but  little  experience  are  very  likely 
to  be  deceived.  There  is  something  fascinating  in  the  beau- 
tiful devices  for  contraction,  that  leads  the  student  forward 
step  by  step  ;  and  he  is  unwilling  to  leave  any  thing  unlearned 
that  the  science  renders  possible.  So  far  as  this  is  a  mere 
matter  of  taste,  so  far  as  it  is  a  passion  for  science,  it 
is  to  be  praised  ;  but,  if  the  student  memorizes  a  greater 
number  of  details  than  he  can  command  readily,  they  bur- 
den the  mind,  hinder  speed  in  writing,  and  finally  lead  to 
disgust  and  failure.  Modes  of  contraction  that  seem  very 
easy  to  the  enthusiastic  student,  when  his  mind  is  engrossed 
by  the  science,  become  far  more  difficult  to  employ  when 
the  distracting  cares  of  business  or  other  studies  occupy  the 
attention.  But  he  is  not  likely  to  imderstaud  this  at  the 
time  ;  and  when,  in  later  years,  experience  teaches  him  his 
error,  it  is  too  late  for  him  to  rectify  his  mistake  :   he  must 


24  INTRODUCTION. 

abandon  a  style  too  cumbersome  to  be  endured,  and  has, 
too  frequently,  no  leisure  to  master  a  simpler.  If  those  who 
have  made  the  experiment  with  Phonography  will  testify 
to  their  experience,  as  large  numbers  have  already  done, 
they  will  save  many  young  persons  from  such  a  waste  of 
time  and  effort ;  but  we  ask  no  testimony  of  those  who 
have  used  the  art  but  a  short  time,  and  are  still  bewildered 
by  its  deceptive  promises. 

We  have  felt  it  a  duty  to  offer  this  word  of  caution,  not 
merely  to  guard  the  inexperienced  against  the  old  forms  of 
the  art,  but  also  to  warn  the  student  against  attempting  the 
reporting  style  of  Tachygraphy,  without  first  counting  the 
cost,  and  considering  carefully  the  probability  of  its  being 
as  well  adapted  to  his  purpose  as  the  simplest  style.  While 
the  reporting  style  of  Tachygraphy  is  much  more  easily 
acquired,  and  much  more  legible,  than  Phonography,  yet  it 
should  not  be  attempted  by  those  who  are  not  prepared  to 
make  its  use  their  principal  business,  at  least  for  a  term  of 
years. 

Students  in  academies  and  colleges  who  contemplate  an 
extended  course  of  education  may  master  the  note-taker's 
style  to  advantage,  for  the  purpose  of  taking  more  accurate 
notes  of  the  lectures  of  their  proposed  courses  of  study.  But, 
when  fairly  engaged  in  their  professions,  they  will  be  quite 
likely  to  drop  all  contractions,  and  write  the  art  in  its  s'liu 
plest  form. 

There  is  one  other  caution,  that  we  would  make  so  em- 
phatic, if  possible,  that  no  student  of  the  art  should  ever 
forget  it.  It  is  this :  On  no  account  attempt  to  write  two 
styles  of  the  art.  Any  one  that  should  attempt  to  preserve 
his  knowledge  of  Phonography  while  cultivating  Tachygra- 
phy would  most  certainly  fail.  Let  the  decision  made  in 
favor  of  the  style  used  be  decisive. 


THE  LOVE   OF  THE   BEAUTIFUL,  25 

The  same  caution  applies  to  the  effort  to  write  a  more  or 
less  contracted  style  of  the  same  system.  It  cannot  be  done, 
except  at  a  great  sacrifice  of  facility  in  both  styles.  Teach- 
ers are  sometimes  compelled  to  do  this  to  accommodate  their 
writing  to  pupils  of  different  degrees  of  proficiency ;  but 
they  must  be  content  with  a  comparatively  low  rate  of 
speed. 

These  suggestions  are  offered  to  those  who  wish  to  make 
the  art  useful.  If  any  cultivate  it  for  amusement,  and 
speculate  in  different  styles  from  a  love  of  variety,  we  trust 
they  will  accept  the  result  of  their  choice,  without  making 
us  responsible  for  their  success  in  acquiring  skill  in  rapid 
writing.  We  would  not  discourage  an  appeal,  on  the  pan 
of  the  teachers  of  Tachygraphy,  to  that  love  of  the  beautiful, 
which  must  always  be  au  attractive  charm,  winning  more 
to  the  culture  of  the  art  than  even  its  great  and  acknowl- 
edged utility  can  do.  This  love  ought  to  be  encouraged  as 
an  ennobling  influence,  leading  the  mind  to  an  appreciation 
of  all  true  art,  and  through  this  to  divine  excellence.  But 
let  that  appeal  be  made  to  the  greater  beauty  mingling  with 
the  severe  simplicity  of  the  fuller  forms  of  the  art,  rather 
than  to  those  accidental  devices  which  break  the  true  har- 
mony of  the  science.  Educate  the  taste  until  irregular 
forms  shall  be  offensive. 


FOREIGN   LANGUAGES. 

The  alphabet  of  Tachygraphy  was  arranged  with  especial 
reference  to  its  application  to  foreign  languages.  Some 
adaptation  will  be  necessary  to  make  it  as  useful  in  German, 
French,  and  other  European  languages,  as  in  our  own  ;  but 
this  was  originally  designed,  and  provision  was  made  for 
such  additions  as  would  be  necessary,  so  that  the  harmony 


26  INTRODUCTION. 

of  the  system  might  remain  when  it  should  be  adopted  by 
other  nations. 

The  best  systems  of  short-hand  have  heretofore  appeared 
in  the  Euglisli  hmguage.  Nearly  all  the  true  principles  of 
the  science  would  seem  to  be  of  English  discovery  and 
development.  And  yet,  with  all  their  rudeness,  the  German 
systems  seem  to  have  been  more  generally  employed,  on 
account  of  their  greater  simplicity.  It  is  hoped  that  the 
introduction  of  Tachygraphy  will  show  that  those  who  use 
the  English  language  are  not  only  able  to  discover  the  true 
principles  of  the  science,  but  to  apply  them  successfully  to 
practical  use. 

Let  it  be  known  that  there  is  but  one  science  of  brief 
writing  for  all  nations,  as  there  is  but  one  science  of  math- 
ematics, one  true  philosophy  of  human  liberty,  one  true 
religion,  and  one  God,  and  the  general  introduction  of  that 
system  which  best  embodies  the  science,  will  pave  the  way 
for  that  universal  language  which  must  yet  bind  into  closer 
relations  the  whole  family  of  man. 


PRELIMINARY    DIRECTIONS. 


WEITING-MATEEIALS. 

A  steel  pen  is  the  best  instrument  for  writing  short-hand. 
Some  gold  pens  will  answer  ;  but  they  are  not  apt  to  be  stiff 
enough  for  this  use. 

As  a  reporter  is  sometimes  compelled  to  use  a  pencil, 
some  practice  in  this  way  is  necessary  ;  but,  when  a  pencil 
is  used,  it  is  necessary  to  have  unsized  paper. 


MANNER   OF   HOLDING   THE   PEN. 

In  the  common  writing,  the  principal  strokes  are  back- 
ward, while  in  Tachygraphy  they  are  mostly  inclined  for- 
ward. This  renders  a  change  in  the  manner  of  holding  the 
pen  desirable. 

Tlie  pen,  when  writing  Tachygraphy,  should  be  held  be- 
tween the  first  and  second  fingers.  It  should  be  steadied  by 
the  thumb  as  it  is  when  held  in  the  usual  way. 

Tachygraphy  may  be  written  on  either  ruled  or  unruled 
paper  by  the  experienced  writer ;  but  the  learner  will  find 
it  convenient  to  have  ruled  paper  in  his  earlier  exercises, 
for  the  same  reason  that  ruled  paper  is  convenient  in  learn- 
ing to  write  in  the  common  way. 

87 


2j8  preliminary  directions. 


EXPLANATION   OF   TERMS. 

Vocals.  —  The  short-hand  letters  which  represent  the 
sounds  of  vowels  are  called  vocals^  or  vocal  signs. 

Consonantals.  —  Those  representing  consonant  sounds 
are  called  consonantals. 

Outline  ;  Word-form.  —  The  form  a  word  assumes  when 
written  with  the  short-hand  characters. 

Tachygraphy  (pronounced  ta-kig'ra-fy) .  —  Greek  T«/i;g 
(<ac7ms),  rapid;  and  ypaqp*}  (gfrapAe),  writing,  —  rapid  writ- 
ing. 

Phonography  {fo-nog'ra-fy).  —  Greek  (poivi\  (^ phone), 
sound,  or  voice  ;  and  ygacp^,  writing,  —  the  writing  of  the 
sounds  of  the  human  voice.  The  word  phonography  is  gen- 
erally used  to  designate  the  system  of  short-hand  writing 
invented  by  Mr.  Ifeaac  Pitman,  of  England.  It  is,  however, 
sometimes  used  in  a  more  extended  sense,  for  any  kind  of 
character  that  assumes  to  express  the  elements  of  spoken 
language. 

Calligraphy  (ka-lig'ra-fy).  —  Greek  xaXliyQaqila  {kallv- 
graphia),  fine  or  beautiful  writing. 

Phonetic  or  Phonic.  —  Greek  (jpwi't}  (phone),  voice, — 
pertaining  to  the  expression  of  the  sounds  of  the  voice  in 
language.  A  phonetic  system  of  writing  is  one  which  ex- 
presses the  sounds  of  the  language.  All  the  languages  of 
Europe,  and  most  of  the  languages  of  Asia,  as  well  as  the 
English  language,  of  the  present,  and  the  Latin,  Greek, 
Hebrew,  and  Sanscrit,  of  the  past,  are  written  phonetically. 
The  ancient  languages  are  written  with  great  phonetic  pre- 
cision ;  but  some  modern  languages  have  departed,  to  a 
greater  or  less  extent,  from  this  basis. 

Phonetics.  —  The  science  which  treats  of  the  phonic  rep- 
resentation of  lano^ua^re. 


ELEMENTS  OF  TACHYGMPHY. 


CHAPTER  I. 

THE    ORIGIN    OF   THE    BRIEF    LETTERS. 

1.  In  reconstructing  our  written  characters,  the  first 
problem  to  be  solved  is,  On  what  principle  shall  we 
select  briefer  and  better  letters  ? 

It  would  not  do  to  attempt  to  abbreviate  our  present 
writing  by  Oi^iltting  a  part  of  each  letter  ;  for  this  would 
result  in  confusion  and  illegibility. 

2.  If,  for  instance,  we  should  attempt  to  shorten  the 
letter  m  by  omitting  the  last  angle,  we  should  make  the 
letter  n  ;  and  if  we  abbreviate  n  in  the  same  manner,  we 
make  i,  a  mere  undotted  i. 

This  process  would  not  do  with  any  of  the  letters ;  and 
yet  it  is  impossible  that  we  should  continue  to  make,  as 
we  do  now,  four  or  more  strokes  of  the  pen  for  each 
letter,  if  one  stroke  can  be  made  to  answer  the  same 
purpose. 

3.  But  there  is  another  method  of  abbreviatino;  the 
old  letters,  viz.,  by  omitting  the  strokes  that  unite  them 
together.  Thus,  instead  of^^i  ^,  ^^,  ^,  &c.,  we  could 
write  <2:,  A  ct  c/i  &c.     But  we  should  not  gain  in  ease  of 

3*  20 


30  THE  ORIGIN   OF  THE   BHIEF  LETTERS. 

writing  by  this  ;  for  this  is  the  way  the  ancients  wrote : 
and  we  liave  found  that  we  can  write  faster  by  joining 
the  letters  together,  even  if  we  use  more  strokes  in  writ- 
ing. So  we  will  not  attempt  to  go  back  to  a  style  that 
was  abandoned  several  hundred  years  ago. 

4.  We  shall  have  to  lay  the  old  letters  aside ;  but 
what  kind  of  letters  shall  we  employ  in  their  place  ?  It 
takes  time  and  labor  to  make  marks  with  a  pen  :  so  we 
must  get  brief  and  oasy  signs.  Besides,  letters  must  be 
joined  to  one  another  in  many  ways.  They  must  be, 
then,  regular  lines,  so  that  a  boy  or  girl  that  has  studied 
geometry  can  tell  just  the  angle  that  any  two  letters 
would  make  when  joined.  In  this  way,  we  shall  have  a 
science,  o.  mathematical  science. 

We  will  take  the  simplest  regular  characters.  1. 
Straight  lines.  2.  Curved  lines.  3.  Brief  dashes.  4. 
Dots. 

STRAIGHT   LINES    AND    CURVES. 

5.  We  must  be  careful  to  keep  a  sufficient  difference 
between  the  letters.  Suppose  we  take  four  light  lines 
like  these  _\  |/ ,  and  four  heavy  ones  in  the  same  direc- 
tion _\1/.     This  gives  us  eight  very  simple  letters. 

6.  We  will  now  make  curved  lines,  of  the  quarter  of 
a  circle,  in  the  same  directions  as  the  straight  lines  above. 
We  can  curve  them  either  way.  In  the  direction  of — , 
wc  have  '-^  and  -^^  ;  in  the  direction  of  \,  ^  and  V^ ; 
m  the  direction  of  |,  )  and  ( ;  in  the  direction  of  /, 
^  and  y. 

7.  In  this  way  we  get  eight  more  letters  formed 
with  light  characters ;    and  can  make  eight  more  by 


HALF-CIRCLES,    DASHES,    AND   DOTS.  31 

making  heavy  letters  corresponding  to  tlicin,  thus  ;  ^-s 
w)(y  and^. 

We  may  get  these  signs  from  dividing  a  circle,  as  seen 
in  the  illustrations  on  the  fifth  page  of  the  reading  ex- 
ercises in  the  end  of  the  book. 

8.  In  this  way  we  get  twenty-four  letters,  each  made 
of  a  single  straight  or  curved  line.  They  have  a  posi- 
tive, fixed  direction,  and  regular  form  :  so  that  we  can 
always  know  just  what  the  angle  will  be  when  they  are 
joined  together,  or  whether  they  join  without  making  an 
angle. 

HALF-CIRCLES,    DASHES,    AND    DOTS. 

9.  The  old  stenogra[)hers  made  large  half-circles^  in- 
stead of  quarter-circles,  for  their  large  letters.  This  was 
inconvenient.  But  semicircles,  when  very  small,  are 
convenient  and  distinctive.  We  will  make  them  only 
about  one-fifth  the  size  of  the  lines  and  curves  selected 
in  paragraphs  5-7. 

By  dividing  a  circle  horizontally  and  perpendicularly, 
we  get  o  u  c  D  heavy,  and  r,  u  c  d  light,  —  eight. 
Now  let  us  take  short  strokes,  only  one-fifth  as  long  as 
before  given,  and  in  the  same  directions,  and  we  get 
-  N  »  /  heavy,  and  -  \  i  ^  I'glit,  —  eight  more. 

10.  There  remain,  of  the  simple  characters  chosen, 
only  the  dots.  They  are  less  useful  than  any  of  the 
others,  because  they  cannot  be  joined  in  writing.  We  are 
more  plagued  in  our  old  writing  by  the  necessity  of 
dotting  the  i  and  j,  and  crossing  the  t,  than  by  the  almost 
interminable  m.  But  we  will  venture  to  take  two  dots, 
a  heavy  dot  and  a  light  one  [,  and  .]. 


82  ACKNOWLEDGED  PRfNCIPLES. 

Note.  —  The  use  of  the  signs  given  above,  in  [)l:ice  of  the  old 
letters,  is  not  only  theoretically  plausible,  but  has  proved  to  be 
practically  successful.  They  have  formed  the  foundation  of  most 
of  the  systems  of  short-hand  that  have  appeared  during  the  past 
«  -ntury  in  England  and  America.  There  is  no  question  now, 
a  long  intelligent  students  of  tho  art,  as  to  the  elementary  signs 
t  .it  must  form  the  basis  of  a  practicable  system  of  brief  writing. 
All  respectable  modern  writers  on  the  subject  accept  the  use  of 
quarter-circles,  and  right  lines  (distinguished  by  direction),  and 
dashes,  dots,  and  semicircles,  as  the  only  proper  and  feasible 
letters  to  be  used  in  brief  writing. 

There  remains,  however,  a  difference  of  opinion  between  modern 
writers  concerning  the  particular  sound  or  sounds  which  each  new 
letter,  or  group  of  letters,  should  represent.  So  far,  then,  we  have 
followed  principles  developed  by  pi-evious  writers,  —  principles 
that  have  been  eliminated  slowly  by  the  experience  of  centuries. 

But  there  are  still  works  on  short-hand  extant,  in  which  these 
principles  do  not  appear.  The  system  most  used  in  Germany 
would  seem  to  be  based  on  an  alphabet  totally  devoid  of  method 
or  design,  a  relic  of  the  rudest  stage  of  the  art ;  and  some  Eng- 
lish and  American  authors  have  deviated,  in  the  selection  of  their 
alphabetic  characters,  so  far  from  natural  principles,  as  to  give 
their  readers  an  impression  that  short-hand  was  a  mere  collection 
of  arbitrary  symbols. 

We  trust,  however,  that  the  art  has  at  last  a  scientific  basis ; 
and  that,  whatever  changes  may  occur  in  details,  its  foundatioi- 
rUml'ti  will  never  ajrain  be  removed. 


CHAPT.ER  II. 

THE   SOUNDS   TO    BE    REPRESENTED. 

11.  Letters  represent  the  elements  of  speech,  and 
there  should  be  a  letter  to  represent  each  elementary 
sound  in  the  language.  This  is  not  the  ease  with  our 
present  orthography.  We  have  only  twenty-six  letters 
to  represent  thirty-six  elements.* 

Three  letters,  c,  q,  and  x,  represent  sounds  for  which 
we  have  other  representatives  :  c  sounds  like  k^  s,  or  sJi ; 
q  like  k;  and  x  like  ks  or  gz.  This  leaves  only  twenty- 
three  letters  for  thirty-six  sounds. 

12.  The  thirteen  sounds  for  which  we  have  no  letters, 
in  the  old  orthography  are  expressed,  — 

1st,  By  giving  each  of  the  vowels,  a,  e,  i,  o,  and  w, 
more  than  one  sound  each  ;  as,  for  instance,  a  in  ale^  all, 
at  and  arm;  o  in  ore,  on,  and  done,  &c. 

2d,  By  making  digraphs,  such  as  th,  sh,  ch,  ng,  which 
express,  when  combined,  sounds  entirely  different  from 
what  they  express  singly. 

8d,  By  appropriating  a  letter  that  generally  expresses 
one  definite  sound  to  another  sound,  either  allied  to  it  or 
wholly  dissimilar  ;  as  in  the  case  of  s,  which  is  used  for 
z  and  for  a  sound  heard  in  azure,  that  has  no  proper  let- 
ter of  its  own. 

*  We  can  easily  make  more  than  thirty-six  sounds  by  counting  every 
variety;  but  we  only  wish  here  to  illustrate  the  general  principles  of  pure 
phonics,  without  entering  into  details.  Orthoepists  differ  widely  in  their 
estimate  of  the  number  of  sounds  in  our  language;  but  those  that  cc nut 
the  least  make  the  number  thirty-six. 


84  THE  NEW  LETTERS  APPLIED. 

NUMBER   OF   THE    CONSONANTAL -SOUNDS. 

13.  We  cannot  pause  here  to  enter  into  the  matter 
fully  ;  but  a  little  examination  will  show  that  we  have 
twenty-four  consonantal  sounds,  represented  in  our  or- 
dinaiy  writing  by  &,  c?,  /,  ^,  7i,  y,  A,  U  w,  w,  p^  r,  s,  ^, 
w,  w,  t/,  z,  ch^  sA,  th  (in  thy),  /A  (in  thin),  ng^  and 
one  that  has  no  letter,  and  no  combination  of  letters  ap- 
propriate* peculiarly  to  it;  viz.,  that  written  with  a  s  in 
ctzure^  and  with  an  8  in  pleasure. 

NUMBER   OF   THE  VOWEL-SOUNDS. 

14.  Here  we  may  find  more  difficulty  ;  for  some  vowel- 
sounds  are  ^not  clearly  distinguished  in  our  ordinary 
conversation,  so  that  they  become  obscure.  So,  to  sim- 
plify the  matter,  we  will  omit  all  obscure  sounds,  and 
take  only  those  that  every  one  can  distinguish  without 
difficulty. 

15.  We  have  a,  e,  o,  long,  and  a,  e,  t,  o,  m,  short ;  a 
as  in /ar,  and  another  a  \x\fall ;  oo  in  moon  ;  u  in  full ; 
0  in  or  ;  ai  in  air  ;  and  the  diphthongal  sounds  i  and  u 
long,  oi  and  ow^  —  eighteen  in  all. 


CHAPTER  HI. 

THE   NEW   LETTERS   APPLIED. 

16.  We  have  found  (6,  7,  8)  twenty-four  straight 
lines,  and  curves  of  the  quarter  of  a  circle,  and  (13) 
twenty-four  consonantal  sounds.     We  have  also  (9,  10) 


SMALL  LETTERS  FOR  VOCALS.  35 

eighteen  small  lialf-circles,  dashes,  and  dots,  and  eighteen 
vocal  sounds. 

17.  It  is  quite  appropriate  to  honor  the  consonantal 
sounds  with  full-sized  characters,  because  the  consonants 
are  the  principal  elements  in  words.  Vowels  give  the 
different  shades  of  meaning  which  the  same  root-word 
assumes ;  but  the  consonant  forms  the  enduring  and  im- 
portant part  of  the  word. 

18.  Besides  this,  it  would  be  very  awkward  to  mix 
up  these  signs,  representing  some  consonants  by  full- 
length  characters,  and  others  by  small  signs  ;  for  the 
difference  between  a  vowel-sound  and  a  consonant-sound 
is  very  great,  and  should  be  distinctly  marked  in  an  ac- 
curate system  of  writing. 

19.  We  have,  then,  just  enough  large  signs  to  repre- 
sent the  consonant-sounds,  and  just  enough  small  signs 
to  represent  the  vocal  sounds.  We  have  a  very  good 
reason,  besides  the  fact  that  the  numbers  correspond,  for 
preferring  the  largo  signs  for  the  principal  elements  in 
the  word,  and  the  small  signs  for  the  vocal  elements 
(IT,  18). 

20.  So  far,  we  find  very  beautiful  results  and  easy 
progress.  The  simplest  stro^kes  possible  —  Unes,  curves^ 
dashes^  and  dots  —  can  be  so  arranged  as  to  furnish  all  the 
signs  we  need.  They  are  so  brief  and  beautiful,  that  it 
is  a  wonder  that  our  wise  ancestors  ever  thought  of  using 
any  others  in  their  writing.  But  to  what  individual 
sound  shall  we  wed  each  individual  sign  ?  Shall  we  make 
a  perpendicular  or  inclined  or  horizontal  sign  for  b? 
Shall  it  be  light,  or  heavy?  Shall  it  be  curved,  or 
straight  ?    We  have  only  determined  to  take  the  twenty- 


36  LETTERS   PAIRED. 

four  full-sized  characters  first  introduced  for  tLe  conso- 
nantal siirns,  and  the  eighteen  small  letters  for  the  vocal 
signs ;  but  we  see  no  reason  yet  for  preferring  one  of 
these  signs  to  another  for  any  given  sound. 

21.  Rkm  ARK.  —  If  we  can  find  no  principle  to  guide  us  here,  wo 
may  experiment  in  vain.  If  we  sliould  ring  all  the  changes  pos- 
sible by  the  laws  of  permutation  on  only  twenty-four  characters, 
we  might  make  more  than  six  hundred  and  twenty  sextillions  of 
alphabets,  each  differing  by  one  letter  from  the  other ;  while  if  a 
wider  selection  of  letters  is  made,  with  no  more  regard  for  principle 
than  some  writers  have  had,  the  permutation,  based  on  forty  or 
fifty  signs,  instead  of  twenty-four,  would  yield  a  number  of  possi- 
ble alphabets  many  billions  of  billions  of  times  greater  than  the 
number  above  stated. 

22.  And,  if  any  one  is  anxious  to  press  these  possibilities  further, 
he  shoulil  consider  that  each  aljjhabet  may  form  the  basis  of  many 
conflicting  systems,  as  is  shown  in  the  so-called  phonography,  and 
the  previous  systems  of  stenography ;  so  that  an  alphabet  built 
solely  on  experiment  is  impossible :  for  all  mankind  might  make 
alphabets,  during  all  the  ages  of  the  world,  and  each  make  a  thousand 
ali)habets,  without  exhausting  the  possihililies  of  improvement. 
Tlie  famous  Labyrinth  of  ancient  Crete,  with  its  "  thousand  halls 
and  thousand  winiing  ways,"  was  not  at  all  comparable  to  such  an 
endless  confusion  as  would  result  from  the  effort  to  establish  an 
alphabet  on  a  purely  empirical  basis. 

Let  us,  then,  see  what  principles,  if  any,  we  can  find  to  guide  us 
through  this  labyrinth  of  labyrinths. 

LETTERS  PAIRED. 

23.  We  find,  first,  that  most  of  the  consonant-sounds 
may  be  arranged  into  pairs  of  two  letters,  which  are 
formed  by  the  same  organs,  and  differ  only  in  being  more 
or  less  vocal.  Thus,  h  and  p  are  formed  by  the  lips  in 
the  same  position ;  but  h   is  more  vocal  than  p.     So 


CONSIDERATIONS   IN  ITS   FAVOK.  37 

d  and  t,  g  and  h,  v  and  /,  &c.,  may  be  paired  in  a 
similar  manner. 

Now,  we  find  it  natural  to  represent  each  of  these 
vocal  sounds  b,  cZ,  g^  v,  &c.,  by  heavy  signs ;  and  each 
of  the  whispered  or  aspirate  sounds  by  light  signs. 

24.  This  principle  has  many  considerations  in  its  favor. 
If  similar  sounds  are  represented  by  similar  signs,  there 
is  less  danger  of  mistake  in  reading  ;  for  if  a  ^  is  read 
for  a  b,  or  a  t  for  a  c?,  the  sense  would  be  clear.  Mr. 
Isaac  Pitman,  author  of  Phonography,  has  illustrated 
this  principle  by  the  following  sentence :  But/  wisdom 
and  get  knoivledge^  and  prize  them  as  the  greatest  treasure. 
The  short-hand  letters  for  6,  c?,  g,  s  (in  prize),  th,  &c., 
would  be  heavy ;  but  if  a  careless  writer  should  make 
them  all  light,  making  a  mistake  in  every  word,  the  sen- 
tence would  read,  JPui/  wistom  ant  ket  knowleteh^  and 
price  them  as  (s)  the  Greatest  treashure^  wliich  sounds  a 
little  Teutonic,  but  is  perfectly  intelligible. 

So  this  method  of  pairing  the  characters  and  the 
sounds  of  the  letters  enables  us  to  use  signs  differing 
only  in  the  thickness  or  shading  of  the  stroke,  without 
danger  of  illegibility. 

25.  It  will  be  seen  that  we  have  given  the  shaded  or 
heavy  sign  to  the  most  audible  sound.  This  is  because 
a  light  stroke  is  more  easily  made  than  a  heavy  one ; 
and  the  whispered  sounds  are  of  more  frequent  occur- 
rence than  the  rougher  sounds :  so  that,  by  making  this 
arrangement,  we  represent  the  most  frequently-occurring 
sounds  by  the  letters  which  are  made  the  most  easily. 

Note.  —  Some  persons,  ignorant  of  the  practice  of  the  art, 
have  thoucrht  that  the  use  of  shaded  letters  mijiht  be  avoided. 


449480 


as  LINEALITY  OF  WRITING. 

But,  before  this  subject  can  be  considered,  we  must  discover 
twelve  other  letters,  simpler  and  more  feasible.  The  experience 
of  many  thousands  of  persons,  of  all  grades  of  talent  and  skill, 
has  demonstrated  the  practicability  of  this  arrangement  All  the 
systems  of  Phonography  are  built  on  this  basis. 

26.  In  this  way,  order  begins  to  emerge  from  the 
chaos  that  confronted  us. 

It  will  be  seen,  by  considering  the  nature  of  the  sounds 
further,  that  six  of  them,  6,  p,  g,  k,  d,  and  t,  are  spoken 
abruptly  ;  while  the  sounds  of  others,  such  as  v,  /,  2,  s, 
&e.,  may  be  drawn  out,  or  continued  at  pleasure.  So 
it  seems  quite  natural  to  give  the  straight  signs  to 
these  abrupt  sounds,  and  the  curves  to  those  more 
flowing. 

There  are  other  reasons  for  this  arrancjement  that  can- 
not  be  explained  without  a  further  knowledge  of  the 
principles  of  the  art,  and  we  must  leave  them  to  be  dis- 
cussed elsewhere. 


LINEALITY    OF   WRITING. 

27.  But  we  observe,  further,  that  some  of  our  new 
letters  |  |  )  )  (  (  \\  V^*^  ~^  ^  can  be  best  struck 
downward ;  and  facility  in  writing  demands  that  they 
should  be  joined  together  in  writing.  If,  then,  it  should 
happen  that  the  sounds  occurring  most  frequently  were 
represented  by  letters  running  downward,  we  should  get 
very  unmanageable  word-forms.  Suppose,  for  instance, 
we  should  make  |  stand  for  df,  and  other  letters  as  fol- 
lows, \U\h,\p,  /j,  )  2,  )  s,  &c.,  and  should  then 
try  to  join  these  letters  into  such  a  word  as  "  th'sad- 


SUMMARY   OF    PRINCIPLES.  39 

vantageous."  Omitting  the  vowels,  we  should  have 
This  would  never  do.  It  would  run  down  so  far  as 
to  hinder  the  writing  of  the  next  line.  Besides, 
if  it  were  found  that  certain  sounds  recurred  in  the 
language  much  more  frequently  than  other  sounds, 
we  could  avoid  this  difficulty  by  giving  the  hor- 
rizontal  signs  to  the  most  frequently-recurring  sounds  ; 
for  the  horizontals  might  run  on  across  the  page  without 
causing  any  difficulty.  Now,  it  is  found  that  the  sounds 
of  d,  t,  z,  s,  and  ?i,  occur  more  frequently  than  any 
others.     By   giving   these   sounds   the  horizontal  signs 

— /-—s  /'-^  and  ^-^,  we  can  write  disadvantageous 

thus 


28.  We  have  one  more  grand  principle.  Certam 
sounds  are  made  chiefly  with  the  lips,  and  are  called 
labials ;  others  are  made  chiefly  with  the  palate,  and 
are  called  palatals;  and  others  with  the  tongue  and 
teeth,  and  are  called  lingua-dentals. 

The  law  of  analogy  leads  us  to  class  sounds  made  by 
the  same  organs  together :  so  we  write  the  labials  by 
perpendicular  signs,  palatals  by  slanting  signs,  and 
lingua-dentals  by  horizontal  signs. 


SUMMARY    OF   PRINCIPLEa. 

29.  We  have,  then,  three  great  laws  upon  which  to 
.'.*rano;e  the  full-leno;tli  strokes:  — 

(a.)  Analogy  between  the  sounds  and  signs,  leading 
Tis  to  give  to  sounds  differing  only  in  a  greater  or 
less  vocality  signs  differing  only  in  shading,  and  to  give 


40  ANOMALIES. 

sounds  made  with  the  same  organs  signs  in  the  same 
direction. 

(ft.)  A  law  of  Tiarmony^  by  whicli  abrupt  sounds 
liave  signs  equally  unbending,  and  more  flowing  sounds 
1  lore  flexible  signs. 

(c.)  A  regard  to  lineality.  We  gain  lineality  and 
/iicility  of  writing  by  giving  those  groups  of  sounds  that 
occur  most  frequently  horizontal  signs.  This  last  fea- 
ture alone  is  pa'^-uliar  to  this  system.  The  principles 
mentioned  in  a  and  b  are  found  also  in  the  various  sys- 
tems of  Phonography. 

APPLICATION    OF   PRINCIPLJi». 

30.  Applying  the  above  principles,  we  find  most  of 
the  new  letters  fall  very  naturally  into  their  places  as 
follows :  — 

I  I  \\  —  ))^^^ 

hpgkdtvfz      s     n,  &c. 

ANOMALIES. 

31.  But  still  some  perplexing  questions  occur  ;  for  no 
science  falls  so  completely  into  order  and  harmony  as  to 
render  human  ingenuity  useless.  We  have  three  letters, 
A,  Wy  and^,  that  seem  to  be  scarcely  consonants  at  all,  and 
deserve  separate  treatment.  We  have  four  letters,  w,  n, 
/,  and  r,  that  cannot  be  paired,  as  b  and  p  are,  with  any 
other  sounds  in  the  language ;  then  we  have  the  nonde- 
script sound  ng,  and  the  semi-compound  ch,  and  j\  all  of 
which  anomalies  demand  attention.  But  these  little 
difficulties  are  easily  reduced  to  some  assignable  limits. 


SIGNS  FOR  TFTE   VOCAL  SOUNDS.  41 

We  liave  a  fraine-work,  and  must  leave  the  student  to 
fill  up  the  outline  for  himself,  or  consult  the  alphabet 
for  further  particulars, 

SIGNS    FOR   THE   VOCAL   SOUNDS. 

82.  We  have  assigned  the  small  signs  given  in  para- 
graphs 9,  10  to  the  vocal  sounds.  It  remains  that 
we  assign  particular  classes  of  these  signs  to  particular 
classes  of  sounds. 

We  shall  be  obliged  to  treat  of  this  matter  brieflv,  and 
shall  mention  such  distinctions  only  as  are  made  use  of 
in  forming  the  alphabet. 

Vocal  sounds  are  either, 

(1)  Long  or  Short ; 

(2)  Labial  or  Palatal ; 

(3)  Simple  or  Diphthongal. 

33.  Long  sounds  are  represented  bv  heavy  or  shaded 
signs ;  and  the  short  sounds  corresponding  to  them  by 
the  analoo;ous  lio;ht  sisjus.  And  here  it  should  be  ob- 
served  that  the  short  sound  most  resembling  e  long  is 
not  e  short,  but  i  short ;  and  the  sound  of  a  long  short- 
ened approximates  more  nearly  to  that  of  e  short  in  ehh 
than  to  that  of  a  sliort  in  ahh. 

34.  The  sounds  represented  by  the  light  vocal  signs 
must  not  be  considered  as  differing  only  in  quantity 
from  those  represented  by  the  corresponding  heavy 
signs ;  for  there  is  also  a  slight  difference  in  quality. 

PALATAL   VOWELS. 

35.  Vocal  sounds,  as  well  as  consonantal,  may  be 
classed  with  reference  to  the  organs  principally  used  in 

4  * 


42  DIPHTHONGS. 

uttering  them.  Those  formed  in  the  back  part  of  the 
mouth,  caWed  palatals,  or  gutturals,  are  the  long  sounds 
heard  in  eve,  ale,  are,  and  air ;  and  the  corresponding 
short  sounds  heard  in  it,  ebb,  add.  These  we  have  rep- 
resented bj  the  semicircular  and  dot  signs  '^  c  ,  w  o  .  u 

36.  Those  vocal  sounds  formed  near  the  front  part  of 
the  mouth  by  the  use  of  the  lips,  called  labials,  are  heard 
in  the  words  ooze,  ore,  all,  foot,  up,  on.  They  are  rep- 
resented by  the  dash  signs  -  i  • ,  -  ^-    / . 

DIPHTHONGS. 

37.  The  long  sounds  of  i  and  u  are  considered  diph- 
thongal, and  are  represented  by  the  diamond  points  v 
and  A    respectively. 

The  open  diphthongs  oi  and  oiv  are  written  by  the 
union  of  the  signs  of  their  component  parts.  Thus,  oi 
is  composed  of  •  and  f^,  and  is  written  r  or  v  ;  and 
ow  is  composed  of  ^  and  -,  and  is  written  ^  or  x  ;  the 
direction  of  the  second  stroke  beinor  changed  to  make  a 
more  acute  angle. 

We  add,  on  the  following  page,  a  complete  alphabet 
of  all  the  new  letters,  with  the  sounds  they  represent. 


THE  ALPHABET  OF  TACHYGRAPHY. 


CONSONANTAL   SIGNS. 


SION. 

NAME 

BOUND. 

SIGN. 

NAME 

BOUND 

1 

Be, 

b 

in  bay. 

^ 

The, 

th 

in  they. 

1 

1 

Pe, 

P 

in  pay. 

^ 

Ith, 

th 

in  oath. 

1 

Ga, 

g 

ngo. 

r 

Em, 

m 

in  may. 

\ 

Ka, 

k 

n  ke}'. 

— 

En, 

n 

in  nay. 

De, 

d 

in  do. 

^^ 

Ing, 

ng 

in  sing. 

_ 

Te, 

t 

in  to. 

J 

El, 

1 

in  lay. 

) 

Vc, 

V    ] 

n  eve. 

y 

Ra, 

r 

in  ray. 

) 

Ef, 

f 

n  if. 

c^ 

Wa, 

w 

in  we. 

( 

Zhe 

z 

n  azure. 

J 

Ya, 

y 

in  ye. 

( 

Isb, 

sh 

m  show. 

^ 

Ha, 

h 

in  high. 

„-v 

Ze, 

Z     1 

n  ooze. 

« — 

Ja, 

j 

in  jail. 

'"^ 

Es, 

s 

n  so. 

VOCAL 

SIGNS 

Cha, 

eh 

in  each. 

ft  E,    e     in  eve. 

c  A,    a     in  ace. 

•  Ai,  ai    in  air. 

u  Ah,  a     in  are. 
Oo,  o     in  do. 

1  O,    o    in  ode. 

^  Au,  au  in  aught. 

^  Oi,  oy  in  boy. 

/  Ow,  ow  in  now. 


i,      i    in  it ;  y  in  dutj*. 

e,     e   in  ebb. 

a,     a  in  ask,  at. 

66,  oo  in  foot ;  u  in  full 

u,     u  in  us.  fun,  but. 

6,     o  in  on,  or 

I,     i    in  ice. 

Ew,  ew  in  dew. 


CHAPTER  IV. 


DIRECTIONS   FOR   PRACTICE. 


38.  Having,  then,  an  alphabet  of  the  simplest  cliarac- 
ters,  the  next  step  is  to  learn  to  use  them  with  freedom 
and  grace,  as  we  do  the  old  letters.  It  is  first  necessary 
to  commit  them  to  memory,  so  as  to  form  them  with 
ease,  and  re«id  them  at  sight. 

39.  This  can  be  done  best  by  writing  the  letters  in 
pairs,  commencing  with  |  |  |  |  |  |  |  |  i  &c.,  repeat- 
ing them  twenty  to  thirty  times.  Take  care  to  make 
them  exactly  perpendicular  and  of  the  proper  length,  — 
one-sixth  of  an  inch.  Make  them  of  an  even  thickness 
throughout,  of  equal  length,  and  parallel  to  each   other. 

40.  It  will  be  well  to  speak  the  sound  as  you  make 
the  letter  that  represants  it.  This  will  enable  you  to 
associate  the  letter  with  its  proper  sound. 

41.  Do  not  attempt  to  learn  the  whole  alphabet  at 
once,  but  master  two  letters  at  a  time. 

After  learning  |  |,  add  \\,  observing  their  direc- 
tion as  before.  Then  proceed  in  a  similar  manner  with 
,  as  follows : 

EXERCISE   ON   THE  STRAIGHT   SIGNS. 

42.  6,i>|  I  I  I  I  I  I  I  I  I  I  I,  &c.,  repeated 
throughout  the  line. 

9^  ^  WWW  WWW  &c.,  repeated  through- 
out the  line. 

44 


EXERCISES.  45 

d,  t  "^  "^  TT!,  &c.,  repeated  throughout  the  line,  or 

I  I  I  I  W  I  I  w — ,&c. 


Note.  —  43.  It  will  be  well  to  trace  the  characters  throughout 
the  work  with  an  ivory  point ;  but  this  method  of  practice  should 
never  detract  from  the  use  of  the  pen,  because  the  student  needs 
to  train  his  eye  to  accuracy,  and  develop  his  taste  and  judgment, 
which  cannot  be  done  by  mere  imitation  of  printed  forms. 

THE   SOUNDS   OF   THESE   LETTERS. 

44.  j  I  —  and  —  have  tlie  sounds  always  represent- 
ed by  J,  2>,  d,  and  t.  \  has  the  sound  of  g  heard  in  go^ 
beg,  but  never  the  sound  of  j,  or  g  soft,  heard  in  gem. 
\  has  the  sound  of  k,  and  the  identical  sound  of  e 
hard  in  come. 

Note.  —  G  soft  is  represented  by  <= —  ;  and  c  soft,  by  ''■"^. 

45.  After  thoroughly  mastering  these  letters,  proceed 
in  a  similar  manner  with  the  curves,  observing  that  the 
heavy  curves  are  shaded  only  in  the  middle,  and  taper 
towards  each  end. 

EXERCISE    ON   THE    CURVED   SIGNS. 

46--/))))))))     )))))))) 
-*.«''((((((((     (((((((( 

2,  S    --^  '^ ^  -^^  x-x  /--v  .-^   ^-N  .^-^  .^-s  '-^ 

th,th  -\  ^'^  ^'^  "^^^"^  ~^^ 

THE   SOUNDS   THEY    REPRESENT. 

47.  )  )  ^^  and  ^-^  represent  the  sounds  of  the  letters 
r,  /,  2,  and  s,  as  given  in  the  alphabet.     It  need  only  be 


46  SOUNDS   OF  THE   LETTERS. 

observed  that  the  letter  s  in  our  common  orthography  ha3 
very  frequently  the  sound  of  z  ;  and  in  these  cases  must, 
of  course,  be  written  in  Tachygraphy  by  the  letter  /--n. 

48.  The  sound  (  has  no  corresponding  letter  in  the 
lid  alphabet.  This  sound  is  represented  by  z  in  the 
(N'ord  azure,  and  by  «  in  the  words  pleasure,  measure, 
ireasure,  &c.  It  is,  however,  a  simple  elementary 
sound,  and  deserves  a  simple  and  appropriate  letter. 

49.  The  sound  f  is  usually  written  with  the  common 
digraph  sh,  as  in  sJvow ;  but  it  is  also  written  with  the 
letters  ti  and  ci,  as  in  nation,  Grecian,  &c. 

50.  The  letters  ^  and  ^  stand  for  the  old  th  as 
heard  in  then  and  thin.  The  heavy  sound  in  then  dif- 
fei-s  from  the  light  sound  in  thin,  as  d  differs  from  t. 
The  student  should  be  careful  to  distinguish  these  two 
sounds  of  th,  and  to  employ  "^  when  the  sound  is  vo- 
cal, and  ~>^  when  it  is  aspirate. 

THE    LIQUIDS    AWU   ISG. 

51.  The  letters  /^  -^-^  >^  J  and  /^  are  not  arranged 
in  pairs,  as  the  preceding  letters  have  been.  Tliey  are 
all  vocal,  and  might  properly  have  been  represented  by 
heavy  curves  ;  but  being  letters  of  frequent  occurrence, 
having  no  lighter  correlative  sounds,  it  is  much  more 
convenient  to  represent  them  as  given  in  the  alphabet. 

Ing.  v..^  differs  from  "^-^  in  sound  radically,  instead  of 
being  a  mere  variety  of  the  same  sound,  as  other  letters 
so  paired  are. 

52.  Wa  and  i/a.  The  letters  ^  and  ^  have  a  very 
feeble  consonantal  power,  and,  occurring   always  in  tha 


DIRECTION   OF  THE   LETTEIIS.  47 

commencement  of  a  syllable,  the  forms  given  (always 
written  upwards)  are  very  convenient.  They  have  no 
correlative  sounds. 

53.  The  letters  c and  c —  represent  sounds  that  are 

considered  diphthongal ;  c —  being  composed  of  the  soimds 
—  and  (   [  ~C  ] '  ^"^  '^ —  °^  ^^^  sounds  —  and  (   [  "C  ]  • 

THE   DIRECTION   IN  WHICH  THE    LETTERS  ARE  WRITTEN. 

54.  The  letters  |  |  \\  )  )  (  (  ^  find  "^^  are  in 
variably  struck  downwards,  and  may  be  called  descenders. 

The  letters /"-n  -— ^  s_^  ^—^  c and  ■= —  are  writ- 
ten from  left  to  right,  and  may  be  called  horizontals. 

The  letters  ^  ^  and  ^  are  invariably  written 
upwards,  and  may  be  called  ascenders. 

VARIABLE  LETTERS. 

The  letters  /^  ^  and  /  may  be  written  either  up- 
ward or  downward,  and  may  be  called  the  variable 
letters.  Written  upward,  they  are  named  Ma,  La,  and 
Ra  ;  written  downward,  Em,  El,  and  Ar,  respectively. 

65.  The  letters  ^  and  "~^^  may  be  reversed  into  V_ 
and  ^,  when  they  thus  form  a  more  convenient  anglt 
with  the  letters  to  which  they  are  joined  in  writing. 

Note.  —  In  a  universal  alphabet,  the  last  forms  are  needed  to 
represent  other  sounds  ;  but,  as  most  of  the  writers  of  the  art  use 
only  the  English  language,  it  is  considered  allowable  to  turn  these 
forms  to  service  in  the  common  and  reporting  styles  of  Tachyg- 
raphy,  leaving  those  who  cultivate  a  literary  style,  for  use  m 
foreign  languages,  to  appropriate  them  to  othe»  sounds. 


48 


SIZE  OF  THE  LETTERS. 


Tha, 

Tha, 

M, 

N, 

Ng, 

L, 

Ra, 

Ar, 

Wa, 

Ya, 

Ha, 

Ja, 

Cha, 


Writing  Exercise. 
<^^^      <^^^      L<^^ 

rrr  rrr    r rr 


J  J  J  J  J  J  J  J  J 
///  ///  ///  ///  /// 
J  J  J   J  J  J  J  J 


SIZE   OF   THE   LETTERS. 


66.  The  consonant  letters  should  be  made  by  the 
student,  when  commencing  the  practice  of  the  art,  about 
one-sixth  of  an  inch ;  but,  after  he  has  become  skilful  in 
its  use,  he  may  reduce  their  size  to  about  one-eighth  of 
an  inch.  The  speed  of  the  writing  is  increased  by  lessen- 
ing the  size  of  the  letters. 

VOCAL   SIGNS. 

57.  The  student  should  practise  on  the  vocal  signs  in 
the  same  manner  as  he  is  instructed,  in  the  preceding 
section,  to  practise  on  the  consonantals. 

58.  The  semicircles  '^  r>  ^  and  v--  are  determined  by  the 
direction  in  which  they  are  struck,  rather  than  by  the 


VARIATION  OF   VOCAL  SIGNS.  49 

form  which  they  assume  when  written.  The  first  pair 
(ri  and  1^)  are  always  struck  in  the  direction  in  which 
tiie  hands  of  a  watch  move ;  but  they  may  turn  round 
toward  the  right  as  far  as  may  be  necessary  to  form  a 
proper  angle  with  the  following  letter. 

XLLnSTRATION. 


The  second  pair  (y  and  o)  may  turn  in  the  opposite 
direction,  as  follows  :  — 


These  forms  become  perfectly  definite  when  joined  to 
other  letters,  as  they  always  must  be  if  varied.  The 
freedom  and  beauty  of  the  writing  is  greatly  increased 
by  the  power  to  vary  these  letters  as  shown  above. 

59.  The  letters  i  and  \  are  variable  in  direction,  being 
struck  either  in  the  direction  of  \  or  |,  as  may  be  most 
convenient. 

^xereise. 

60.  The  letter  y  is  struck  downward  in  most  cases ; 
but  it  may  be  written  upward  when  more  convenient. 
This  sign  [/]  is  made  light  to  represent  the  sound  heard 
in  the  words  or,  nor,  &c. 

61.  The  letter  /  (o  short)  always  represents  the 
vocal  sound  heard  in  on,  odd,  &c.,  and  is  distinguished 
from  the  light  sign  given  in  paragraph  60,  by  being  nearly 
always  struck  upward.  It  is  also  written  at  a  greater 
inclination.  ,  ^, 


50  METHOD   OF  JOINING   THE  LETTERS. 

SIZE   OF   THE   VOCAL   SIGNS. 

62.  The  vocal  signs  should  be  about  one-fifth  the  size 
of  the  consonant  signs.  This  will  make  the  semicircles 
about  one-thirtieth  of  an  inch  in  diameter,  and  the  dashes 
one-thirtieth  of  an  inch  in  length. 

Exerdie. 
Doumward^  ///  ///    //////  ///  /// 
Upward^   ^^-^x-  /^  //  ^^^^  ^-^  -^/ 
Oi  and  ow^  t^/^t^^^^^^i^^i^^yfyft^    /- 

I  and  W,    VV      V     VA      AA     r\    ^    \i    \/    VA  A    A  V      V     V 


CHAPTER  V. 

METHOD    OF    JOINING    THE   LETTERS. 

63.  HA^^NG  memorized  the  letters  of  the  alphabet,  by 
frequently  repeating  the  exercises  given  in  the  preceding 
chapter,  the  student  should  now  proceed  to  join  the  let- 
ters into  short  syllables,  or  words  of  two  letters.  All 
letters  are  joined  in  the  simplest  manner.  It  is  only 
necessary  to  observe  the  jirinciples  already  given  as  to 
the  proper  direction  of  the  letters,  and  the  amount  of 
variation  allowed  in  certain  vowels. 

All  silent  letters  that  appear  in  the  common  print  are 
omitted  in  Tachygraphy  ;  and  the  true  phonetic  equiva- 
lents arc  used  in  place  of  the  common  orthography. 


,v-^ 

\ 

r^ 

J 

ease 

ache 

aim 

ale 

^ 

^ 

t^ 

i 

awes 

owed 

oai* 

u 

J 

^ 

._^ 

she 

bay 

may 

nay 

CONNECTING  THE  SIGNS.  51 

Examples, 
^         ^  J 

eat  ear  eel 

are  ooze  owes 

tea  pea  fee 

^-  ^  ^  ^  -n 

who  coo  no  gnaw  dough 

{See  Reading-Lessons  First  and  Second.) 

64.  The  principles  of  joining  apply,  with  some  specific 
differences,  to  the  various  classes  of  vocals ;  hence  we 
treat  of  connecting  the  semicircles,  the  dashes,  and  the 
diamond  points,  under  special  rules. 

CONNECTING   THE   SEMICIRCLES. 

65.  The  semicircles  must  always  form  an  angle  with 
tlie  following  consonant ;  hence  r.  o  o  and  ^  are  varied, 
as  explained  in  paragraph  68 ;  but  there  is  no  need  of 
an  angle  when  the  semicircle  is  joined  to  the  end  of  the 
strokes :  they  form  hooks  in  such  cases,  as  will  be  seen 
in  the  examples  below. 

CONNECTING    THE   DASH-LETTERS. 

66.  The  dashes  always  make  angles  with  the  prece- 
ding letters,  as  well  as  with  those  that  follow. 

67.  The  horizontal  dashes  -  and  •  admit  of  no 
variation.     When   they  do  not  make  a  distinct   angle 


52  THE  DIAMOND  POINTS. 

with  the  letter  or  letters  to  wliicli  they  belong,  they  are 
disjoined,  and  treated  as  non-connectives.  (See  para- 
graphs 87-92.) 

68.  The  I  and  \  take  either  the  direction  of  |  or  \ ; 
that  direction  always  being  chosen  which  makes  the 
acutest  angle.  When  they  form  no  angle  in  either  of 
these  directions,  or  when  between  two  other  letters  they 
fail  to  join  properly  with  either,  they  are  also  disjoined. 

69.  The  dash  •  is  struck  upward  when  it  makes  a 
better  angle  ;  but  it  .should  be  struck  downward  when- 
ever it  is  at  all  convenient.  The  light  dash  /  ,  though 
struck  upward  generally,  may  be  struck  downward  when 
necessary  to  form  a  good  angle. 

Examples. 


cr     o 


tr 


THE  DIAMOND   POINTS. 

70.  Tlie  letters  v  and  a  may  be  formed  of  lines 
curving  outward,  when  they  will  thus  connect  more 
easily  with  either  a  preceding  or  a  following  consonant. 
Either  the  first  stroke  or  the  second  may  be  curved,  or 
both  strokes ;  or  both  may  be  made  straight,  as  in  the 
alphabet. 


JOINING   FULL-SIZED   LETTERS. 


53 


No  rule  need  be  given  in  reference  to  the  use  of  these 
letters,  except  that,  generally,  that  form  is  best  that 
makes  the  most  distinct  angle  with  the  letter  to  which 
it  is  joined. 

71.  The  light  strokes  of  the  letters  a-  and  ^  may  be 
curved  in  a  similar  manner  ;  and  even  the  heavy  strokes 
may  be  slightly  curved  in  a  few  cases. 

Examples. 


nigh  sigh 


ice 


size 


nine 


ire 


noise 


how 


hue 


coin 


bound 


ruse 


sound 


Note.  —  Before  proceeding  to  the  next  section,  the  student 
should  attend  carefully  to  Reading-Lessons  Third,  Fifth,  and 
Sixth. 


THE    JOINING    OF   FULL-SIZED    LETTERS. 

72.  The  consonantal  strokes  and  curves^  when  joined 
without  intervening  vocals,  make  angles  of  a  determi- 
nate mathematical  quantity,  in  accordance  with  the 
principles  of  geometry.  They  sometimes  unite  without 
angles ;  and  this,  too,  is  to  be  determined  by  fixed  math- 
ematical laws. 

ANGLES. 

73.  The  angles  formed  by  uniting  the  right  lines  of 
the  alphabet  may  vary  in  quantity  from  30  degrees  to 

5* 


64  RIGHT   LINES   JOINED   WITH    CURVES. 

135  defaces.     But  it  will  be  sufficient  for  the  practice 
of  the  art  to  class  them  as  rights  acute,  or  obtuse  angles. 


Right  angles, 
A  2ute     " 
Obtuse     " 


Note.  \y^  and  y'\^  are  classed  among  the  right  angles, 
although  the  angle  is  greater  than  90  degrees. 

RIGHT   LINES   JOINED   WITH    CURVES. 

74.  When  straight  and  curved  lines  join,  the  angle 
cannot  be  preserved  in  many  cases  where  mathematical 
accuracy  would  require  one. 

75.  When  the  curve  faces  the  angle,  and  would,  if 
straight,  form  an  obtuse  angle  with  the  right  line,  no 
angle  can  be  formed  ;  for  the  right  line  would  form  a 
tangent  to  the  curve. 


Examples. 


^ 


76.  When  the  curve,  situated  as  above,  is  in  such  a 
direction  as  would  make,  if  straight,  a  right  angle,  the 
angle  is  sacrificed  for  convenience  in  writing. 

Examples. 

77.  And  even  in  cases  where  the  curve  faces  an 
angle  that  would  be  acute  if  formed  of  right  lines,  the 


THE   JOINING   OF   CURVES.  55 

angle  is  ojften  rounded  so  much,  that  the  two  letteis  unite 
into  one  stroke. 

Examples. 

THE    JOINING    OF   CURVES. 

78.  Facing   curves,  of  such    a   direction    that   their 
chords  would  form  right  angles,  always  form  half  circles. 

Examples. 

C  ^  w  r^r^  (_ 

79.  Facing  curves  whose  chords  would  form   acute 
angles  are  joined  without  angles. 

Examples. 

u  n  n  o  o  ^ 

80.  But  facing  curves  whose  chords  would  form  ob- 
tuse angles  must  in  all  cases  form  an  angle. 

Examples. 

OPPOSING   CURVES. 

81.  Opposing  curves  in  the  same  direction  unite  into  a 
waved  line. 

Examples. 


S  I 


56  VOCALS  JOINED   WITH  VOCALS. 

82.  Opposing  curves  in  different   directions   always 
make  angles. 

Examples. 

CURVES    REPEATED. 

83.  When  the  same  curve  is  repeated,  an  angle  is 
formed. 

Examples. 


{ 


STRAIGHT    LINES    REPEATED. 

84.  Two  right  lines  in  the  same  direction  unite  with- 
out  an  angle.  If  one  of  the  lines  is  heavy,  and  the 
other  light,  the  shading  should  be  so  gradual  that  both 
letters  may  blend  into  one  stroke. 

Examples. 

Mil w/'  ^ 

{See  Reading-Lesson  SevenUi.) 
VOCALS   JOINED    WITH    VOCALS. 

85.  The  principles  explained  in  the  previous  part  of 
this  chapter  apply,  for  the  most  part,  to  the  connection 
of  vocals  with  vocals.  It  should  be  observed,  however, 
that  the  vocal  curves  are  half-circles,  and  unite  with 
different  angles  from  those  formed  by  quarter-circles 
similarly  situated. 

86.  The  dashes  make  the  same  angles  as  full-sized 
strokes  similary  situated.     They  cannot  unite  with  other 


DISJOINED   VOCALS.  57 

dashes  without  an  angle,  but  may  take  a  vowel-hook,  as 
full-sized  letters  do. 

Examples. 

meander  aerial         recreation  deism 

geography  piety  owing  wooing 

( See  Reading-Lesson  Ninth.) 

DISJOINED    VOCALS. 

87.  The  dots  are  always  disjoined  ;  the  dashes  are 
disjoined  in  many  instances ;  and  the  semicircles  in  a 
few  cases.  A  disjoined  vocal  is  w^ritten  near  to  some 
full-sized  letter  in  the  syllable  to  which  it  belongs,  and 
has  a  position  with  reference  to  that  letter. 

88.  If  the  vocal  is  to  be  read  before  a  perpendicular 
or  inclined  stroke,  it  is  written  on  the  left  of  it ;  if  read 
after,  on  the  rio-ht. 

89.  If  the  vocal  is  read  before  a  horizontal  stroke,  it 
is  written  above  it ;  if  after,  below  it. 

90.  When  the  disjoined  vocal  occurs  between  two 
full-sized  letters  which  belong  to  the  same  syllable,  it  is 
generally  written  with  the  latter,  except  as  provided  in 
the  next  section. 

91.  The  dots  are  written  near  the  middle  of  the  let- 
ter; and,  when  they  occur  between  two  letters,  the 
heavy  dot  is  written  with  the  former,  and  the  light  dot 
with  the  latter. 


68  OTHER  DISJOINED   VOCALS. 

Examples. 

•I      \    ^^y      \       ^      -<1    \     --"     ^^ 

ebb  egg  air  rare   faith   feather  web   keg    debt   bury 

-^  —    —    y^   D 

Edit      do       etch     chair    soul 

)_    NT    ^^^   V-  l^  w.-;^^.--^ 

foot    come    known    far    face       nonentity 

92.  Other  disjoined  vocals  may  be  written  near  the 
beginning,  middle,  or  end  of  the  letter ;  but,  if  the  vocal 
is  written  last,  it  will  generally  be  more  convenient  to 
write  it  near  the  end  of  the  latter  of  the  two  strokes 
between  which  it  occurs. 

93.  If  the  word  contains  more  than  one  syllable,  it  is 
better  to  write  the  vowel  with  that  consonant  to  which 
it  belongs  in  pronouncing  the  word. 

94.  When  there  are  three  or  more  consonants,  the 
vocals  must,  of  course,  be  written  in  their  proper  sylla- 
bles, not  in  connection  with  letters  from  which  they  are 
separated  in  speech.  (See  the  examples  in  paragraph 
91.) 

THE   CONNECTING   STROKE. 

95.  When  the  semicircles  do  not  join  conveniently, 
it  is  often  better  to  connect  them  in  the  outline  by  means 
of  a  slight  stroke  than  to  disjoin  them. 

This  stroke  should  be  light,  and  briefer  than  the 
vowel  strokes.      It  may  be  in  any  direction,  but  should 


THE  METHOD   OF   STUDY.  59 

be  written  generally  perpendicular  to  the  letters  which 
it  joins. 

If  the  semicircle  occurs  between  two  full  strokes,  to 
neither  of  which  it  will  join  without  a  connecting  stroke, 
it  is  better  to  disjoin  it. 

Examples. 

aid    fade    each    reach    knee    purvey 

Note.  — No  connecting  stroke  is  used  with  the  dashes  or  diamond 
points. 

The  use  of  this  stroke  is  very  infrequent,  and  it  may  be  avoided 
in  all  cases  by  disjoining  the  vocals  when  it  would  be  required  ;  but 
in  such  words  as  aid,  paid,  made,  &c.,  its  use  adds  to  the  facility 
of  writing  by  giving  continuity,  and  it  also  increases  the  graceful- 
ness of  the  outlines.  There  seems  to  be  some  re:ison  for  joining 
an  initial  vowel,  which  does  not  apply  with  so  much  force  to  a 
medial  vo^rel.  A  disjoined  vocal  in  aid  and  each  does  not  look  as 
well  as  in  y?i^/e  and  reac/i.  One  reason  for  this  is  the  ease  with 
which  a  medial  vowel  may  be  spared  in  reading.  The  eye  is 
arrested  by  the  first  letters  of  a  word,  and  passes  more  lightly 
over  the  remaining  letters,  if  the  form  of  the  word  is  plain  enough 
to  be  understood. 

(See  Reading-Lessons  Third  and  Eighth.) 


\ 

CHAPTER  VL 

THE   METHOD   OF    STUDY. 

96.  When  the  student  of  the  art  has  mastered  the 
theory  given  in  the  preceding  chapter,  he  should  turn 
his  attention  to  the  practice  of  the  principles  learned. 


60  THE  METHOD   OF  PRACTICE. 

And,  to  make  his  practice  productive  of  any  good  results, 
he  must  have  a  definite  pkn,  and  follow  it. 

Skill  in  reading  should  keep  pace  with  skill  in  writ- 
ing. The  student  should  read,  in  connection  with  his 
study  and  practice  of  this  chapter,  the  first  nine 
Roading-Exercises  in  the  end  of  the  book.  They  should 
be  reviewed  until  they  can  be  read  as  easily  as  the  com- 
mon print ;  and  the  forms  there  given  should  be  con- 
sulted in  all  cases  of  difficulty  in  combination.  In 
addition  to  this,  the  student  should  read  his  own  exercises, 
and  write  nothing  that  he  is  unable  to  read.  Skill  in 
writing  must  be  based  on  a  knowledge  of  the  principles 
of  the  art.  These  can  be  acquired  practically  only  by 
special  drill  on  each  principle  by  itself.  This  drill 
should  be  made  to  accomplish  two  purposes:  1st,  To 
render  the  method  of  combining  the  characters  more 
familiar  ;  and,  2d,  To  train  the  hand  to  skill  in  forming 
the  word-forms. 

No  one  plan  can  be  exhaustive ;  but  the  following 
will  be  found  to  yield  good  results  if  faithfully  fol- 
lowed. 

97.  Let  the  alphabet  be  so  thoroughly  mastered,  that 
all  the  characters  can  be  written  within  fifteen  or  twenty 
seconds.  For  the  method  of  practice,  see  Chapter  IV. 
When  every  sound  in  a  word  instantly  suggests  its  ap- 
propriate letter,  the  first  point  is  gained ;  then  the 
student  should  proceed  to  gain  the  greatest  facility  in 
joining  the  letters. 

To  accomplish  this,  let  him  write  each  vocal  before 
every  consonantal  in  the  alphabet,  except  wa,  ya^  and  ha^ 
as  follows :  — 


THE  METHOD   OF  PRACTICE.  61 

This  should  be  repeated  until  perfectly  familiar  to  the 
eye,  and  until  the  fingers  can  execute  it  with  perfect 
facility  and  a  tolerable  degree  of  accuracy.  When 
mastered  sufficiently,  the  preceding  exercise  can  be 
written  within  fifteen  seconds. 

Then  proceed  with  the  next  vocal  in  the  same  man- 
ner, adding  every  consonantal,  except  wa,  ya^  and  lia^ 
which  are  not  so  frequently  preceded  by  vowels  as  the 
regular  consonants ;  and  in  the  same  manner  join  all 
the  vocals  to  the  following  consonants,  or  disjoin  them,  as 
the  case  may  be. 

98.  When  this  is  thoroughly  mastered,  join  all  the 
vocals  to  preceding  consonants,  omitting  the  signs  of  the 
short  vowels,  which  are  never  final. 

Exam'ples. 

Go  through,  in  this  way,  with  all  the  consonantals, 
adding  all  the  long  and  diphthongal  signs  to  each  of 
them,  and  rewrite  it  until  it  is  perfectly  familiar. 

99.  The  third  step  in  this  practice  will  be  to  insert 
all  the  vowels  between  every  possible  combination  of  the 
consonants.  But  since  but  a  small  part  of  the  possible 
combinations  actually  occurs  in  writing,  it  will  be  suffi- 
cient to  insert  all  the  short  vowels  between  every  conso- 
nant, as  follows :  — 


G2  PHONETIC  ELEMEJrrS. 

In  connection  with  this  practice,  read  the  first  nine 
Reading-Lessons,  near  the  end  of  the  book. 

WRITING-EXERCISES. 

100.  It  is  desirable  tliat  the  student  should  distin£];uish 
between  the  true  sounds  —  the  phonetic  elements  —  in 
a  word,  and  the  letters  employed  in  the  common  spell- 
ing. To  make  this  easier,  and  to  mark  the  pronun- 
ciation of  syllables  left  indeterminate  in  the  ordinary 
spelling,  a  few  of  the  first  exercises  are  printed  by  limit- 
ing the  sounds  of  some  of  the  old  letters,  and  inverting 
or  marking  others,  as  follows  :  — 

101.  The  vowels  a,  e,  i,  o,  and  w,  retain  their  short 
sounds,  as  heard  in  at^  ebh^  it^  on,  and  put  (oo  in  foot)  ; 
and  the  long  sounds  corresponding  are  marked  by  the 
acute  accent,  thus  :  — 

far,     fet,       fit,      fdt,        fdd. 

far,     fate,     feet,    fought,   food. 

The  0  in  note  is  marked  6 ;  the  u  in  up,  u ;  and  the 

long  sound  of  i  and  u  by  the  digraphs  ei  and  iu;  thus :  — 

not,      nut,    neit,       niuz. 

note,     nut,    nigid,    news. 

102.  The  sound  of  th  heard  in  the  word  that  is  repre- 
sented by  an  inverted  D  ;  thus,  Q  :  the  sharper  sound, 
heard  in  tJiin,  is  written  in  the  usual  way.  The  letter  e 
is  omitted,  s  being  used  for  it  when  soft,  and  k  when 
hard  ;  z  is  written  for  «  when  the  sound  of  z  occurs ; 
J  is  written  for  g  soft ;  and  g  always  retains  its  hard 
sound,  heard  in  go. 

The  sound  of  z  in  azure  has  no  proper  representative 


WRITING   EXERCISES.  63 

in  tlie  common  print :  it  is  here  designated  by  the  letter 
j  with  the  lower  part  shghtly  clipped. 

Exam'ples. 

kum^       rixj\        sho^  iz. 

come,     rouge,     show,  ease, 

ffem,      thiim,        ej^  ek. 

them,     thumb,    age,  ache. 

Note.  —  The  above  scheme  is  taken,  in  part,  from  the  Kosmic 
alphabet  of  the  American  Philological  Society,  Kev.  N.  Brown, 
3  '<  Park  Row,  New  York,  president.  We  have,  however,  adopted 
only  such  distinctive  signs  as  seemed  absolutely  necessary  to 
express  the  sounds  intended  in  an  intelligible  manner.  Those 
desiring  to  secure  a  more  perfect  phonetic  scheme  should  procure 
the  Kosmic  alphabet,  which  is  extensively  employed  by  foreign 
missionaries  in  printing  uncultivated  languages. 

EXERCISE    FIRST. 

To  be  written  in  Tachygraphic  characters,  for  correction  by  the 
teacher.  It  will  be  well  to  leave  two  lines  blank  under  every  line 
written,  so  that,  after  the  exercise  has  been  corrected  on  die 
second  line,  it  can  be  rewritten  by  the  pupil  on  the  third. 

Long  Vowels. 

E  long :  ?6,  ip,  ig,  ik,  id,  it,  iv,  if,  iz,  is,  i(T,  ith,  im, 
in,  ing,  il,  ir,  ij,  ich.     (See  examples  in  paragraph  97.) 

A  long :  eb,  ep,  eg,  ek,  ed,  et,  ev,  ef,  ej,  esh,  ez,  es, 
6(1 ,  eth,  em,  en,  el,  ej,  ecli. 

Note.  —  The  third  vocal,  d,  occurs  seldom  before  any  other 
letter  than  r,  and  may  be  omitted  in  these  exercises. 

Oo  long  :  uh,  ftp,  fig,  fik,  {id,  fit,  uv,  (if,  fij,  ush,  Hz, 
us,  ud,  iith,  fim,  fin,  ung,  fil,  fir,  fij,  Hcli. 

0  long :  oh,  dp,  og,  ok,  od,  ot,  6v,  of,  oj,  oshy  6z^  o«, 
od ,  oth,  oin,  on,  ong,  ol,  or,  oj,  och. 


64  WRITING  EXERCISES. 

An  (as  in  tauglit)  :  6h^  6p^  6g^  6h^  6d^  6ty  </v,  6]^  6]^ 

EXERCISE    SECOND. 

Slu)rt  Votoels. 

1  short :  ihy  ip^  iff,  ik^  id,  it,  iv,  if,  ij,  ish,  iz,  is,  iG, 
fh,  im,  in,  ing,  il,  ir. 

^  short:  eb,  ep,  eg,  eh,  &c.,  tlirougli  all  the  conso- 
nants. 

A  short :  ah,  ap,  ag,  ok,  &c.,  as  above. 

Oo  short  (as  in  foot},  uh,  up,  ug,  uk,  &c. 

CT  short  (as  in  up'),  uh,  itp,  ug,  uk,  &c. 

0  short  (as  in  ori),  oh,  op,  og,  ok,  &c. 

EXERCISE    THIRD. 

Voads  joined  to  Preceding  Consonants. 

B:  hi,  hS,  hd,  hCi,  ho,  h^.     P :  pi,pS,pd,  p^,  pd,p6. 
Go  on  in  this  way,  adding  all  the  long  vowels  to  every 
consonant  in  the  Tachygrapliic  alphabet,  except  ing. 

EXERCISE   FOURTH. 

The  joining  of  the  Diphthongal  Signs. 

jTlong:  hei  (hy},pei  (pie),  get,  kel,  del,  tei,  vei,fei, 
jei,  shei,  zei,  sei,  (lei,  thel,  mei,  nel,  lei,  rei,  wei,  yei,  hei, 
jei,  cJiei. 

U  long:  hiu,  pvi  (pew),  gi\i,  kin,  dlu,  tiu,  &c., 
throughout  the  alphabet. 

Oi :  hoi,  poi,  goi,  koi  (coy),  doi,  toi,  &c.,  as  above. 

Ou:  hou  (bow  or  bough),  pan,  goa,  kou  (cow),  don, 
tou,  &c. 

EXERCISE   FIFTH. 

Eih,  tub,  oih,  ouh,  eip,  iup,  oip,  oup,  eig,  iug,  oig,  oug, 
.&c.,  through  the  whole  alphabet,  omitting  the  letters 
wa,  ya,  and  ha. 


WEITING  EXERCISES.  65 

EXEKCISE    SIXTH. 

Ji,  eh^  ah,  ub,  iib,  oh,  ip,  ep,  ajQ,  up,  ilp,  op,  &c., 
through  the  alphabet,  as  above. 

EXEECISE    SEVENTH. 

Bih,  big,  bid,  bif,  bish,  bis,  bith,  him,  bin,  bit,  bir. 

Kip,  kik,  kit,  kif,  kish,  kiss,  kith,  kim,  kin,king,  kill,hir. 

Tip,  tik,  tit,  tif,  tish,  tis,  tith,  tim,  tin,  ting,  til,  tir. 

Fip,  jik,  fit,  fif,  fish,  fith,  fim,  fin,  fing,  fil,  fir. 

ISip,  sik,  sit,  sif,  sis,  sim,  sin,  sil.  Sir,  sing. " 

31ip,  mik,  .mit,  mif,  mish,  mis,  mith,  mini,  min,  ming, 
mil,  mir. 

Nip,  nik,  nit,  nif,  nis,  nith,  nim,  nin,  nil,  nir. 

Lip,  lik,  lit,  liv,  lis,  lith.  Urn,  lin,  ling,  HI,  lir,  tick,  lij. 

Hip,  rik,  rid,  riv,  ris,  rith,  rim,  rin,  ring,  ril,  rich,  rij. 

Wip,  luik,  loit,  wif,  wish,  wis,  with,  wim,  win,  wing, 
wil,  wich. 

Sip,  hik,  hid,  hif,  his,  hith,  him,  hin,  hing,  hil,  hich. 

Chip,  chik,  chid,  chif,  chis,  chim,  chin,  chil. 

EXEKCISE    EIGHTH. 

Beh,  beg,  bed,  bev,  hes,  beth,  hem,  ben,  bel,  her,  geb, 
geg,  ged,  gev,  ges,  gem,,  gen,  gel,  ger,  &c.,  commencing 
with  the  letters  d,  v,  z,  m,  n,  I,  r,  w,  h,  and  j,  and  using 
all  the  short  vowels  a,  u,  0,,  and  o. 

EXERCISE    NINTH. 

Consonants  united  without  Voicels. 

Bk,  ht,  hr  (ra),  pg,  2^^,  pr,  gk,  gd,  gr,  db,  dk,  dr 
(jir'),  rr,  rp,  rk,  rt,  up,  uk,  wd,  wr,  hh,  hg,  hd,  hr. 

Btha,  ptha,  gn,  kn,  dth,  tth,  rs,  rz,  wz,  sg,  sk,  shg,  shk, 
md,  mt,  7ir  (ra). 

Bn,  pn,  bng,  png,  dv,  df,  tv,  if,  kl,  gl,  sb,  sp,  mg,  mk, 
mb,  mp,  dl,  tl,  bl,  pl,  rv,  rf,  rl. 

Shtha,  shda,  thn,  dn,  zth,  dz,  thf,  thv,  ms,  mz,  nl,  ngl. 

Jz,  js,  shz,  shs,  vn,  vng,  fn^  /w^>  ^sh,  ssh,  mn,  mng^ 
nf,  nv. 

6* 


66  WRITING  EXERCISES. 

EXERCISE   TENTH. 

Bh,  hp,  gg,  gk,  dd,  df,  pb,  pp,  kg,  kk,  td,  tt,  jn,  jng^ 
sJin,  shng,  zv,  zf,  sv^  sf^  ([ala,  thala,  md,  mth^  jla,  shla, 
7ny,  mf,  ml,  zl,  sl^  zn^  «w,  Z7ig,  sng,  ml,  la-m,  vsh,  fah, 
ththa,  tha-ih. 

II,  16,  id,  ill,  id,  id.  li,  ie,  ia,  iu,  ia,  io,  iei^  iiu,  ioi, 
toil,  ii,  ei,  dif  ^i,  Ji,  di^  eii,  Hi,  oil,  oui. 

Note.  —  The  preceding  exercises  will  be  found  to  comprise 
nearly  all  the  combinations  of  the  Tachygraphic  letters  which 
occur  in  writing  the  English  language.  The  student  can  master 
these  combinations  in  no  other  way  so  well  as  to  rewrite  those 
exercises  until  they  are  perfectly  familiar.  Negligence  in  this  part 
of  the  work  will  add  to  the  labor  of  mastering  the  art.  They 
must  be  familiarized  in  some  way.  The  negligent  student,  who 
prefers  to  master  each  combination  as  he  meets  it  in  writing,  will 
continue  to  blunder  for  months ;  while  the  diligent  pupil,  who 
masters  these  combinations  here,  will  find  that  no  real  difBculties 
can  occur  in  his  subsequent  writing. 

EXEBCISE    ELEVENTH. 

Spelled  in  the  common  orthography.  The  silent  letters  should 
be  omitted. 

Pea,  bee,  eat.  Ape,  pay,  bay,  day.  Key,  eke,  gay, 
ache,  too,  dough,  toe,  oat,  aught,  cow,  dow. 

Tea,  day,  thee,  they,  see,  say,  saw,  awes,  owes,  ooze. 
She,  show,  shaw,  foe,  oaf,  oath.  Are,  say,  me,  may,  ma, 
aim,  nay,  know,  gnaw.  May,  ho,  haw.  Way,  woe,  we. 
You,  who.     Lea,  law,  low.     Eel,  aivl,  ale,  oar,  mow. 

It,  eat,  at,  are,  age,  odd,  awed,  of,  off,  the,  thee,  us, 
owes,  is,  ease,  easy,  allay,  an,  Anna. 

Tie,  die,  toy,  joy,  coy.  Bow,  vow,  cow,  out,  owl,  oil. 
Nigh,  dew,  view,  few,  mew,  cue.  Die,  due,  cow,  cue, 
coy,  tie,  toy,  high,  hoy,  my,  mew,  mow  (jou^,  wry,  right, 
wine,  wind,  coin.  About,  govt,  annoy,  duty,  night,  nine^ 
might,  mine,  tight,  tipe,foul,  Uiou. 


WRITING   EXERCISES.  67 

Ice^  eyes^  dice,  ties,  nice,  rise,  vice,  vies.  Hew,  neiv, 
news,  lieio,  rue.  How,  'now,  allow.  Sigh,  sighs,  sign. 
lloijce,  toys,  noise. 

G-o  up  nigh.  Now  see  how  it  is  !  Is  ease  the  aim  f 
How  may  we  find  the  right  loay  ?  This  is  the  right  loay. 
May  we  walk  now,  or  hy  and  by  ?     You  may  go  now. 

EXERCISE   TWELFTH. 

Ebb,  egg,  etch,  edge.     Err,  air,  fir,  fair,  bird,  bare, 
were,  ivear.      Very,  ferry,  merry,  mercy.       To,  do,  so.  ■ 
Good,  food,  mood,  could,  u'ould,  should.     Not,  but,  tub, 
knob,  notch. 

Do  they  err  if  they  do  so  ?  They  may  do  so.  It  is 
easy  to  do  it.  Is  it  so  easy  9  We  may  know  more  about 
this  by  and  by.  How  do  you  know  this  9  I  know  the 
way,  and  have  often  seen  the  view  you  mention. 

Said,  led,  lued,  head.  There,  care,  rare.  Wreck,  web, 
men,  ten,  then,  aired. 

If  he  said  so,  then  you  may  act  on  it.  We  noiv  know 
how  you  and  they  were  led  to  do  this.  There  is  no  other 
•way  so  good.  You  may  attain  this  if  you  desire  to  do  so. 
Tlie  good  and  wise  are  often  led  by  a  way  they  know  not. 

Ope,  open,  rope,  robe,  though,  pope,  poet,  poem.  Love, 
enough,  tough,  govern.  Undone,  unwise,  uncle,  umvorthy 
Qonward).      Up,  ut,  us,  hum. 

Bone,  cone,  tone,  moan,  poH,  import.  Tliey  have  done 
so,  and  we  may  hope  to  do  the  same.  The  vessel  is  not 
yet  in  port.      The  import  of  his  answer  is  this. 

EXERCISE    THIRTEENTH. 

In,  bin,  fin.  As,  ask.  Epistle,  epoch.  Aid,  paid, 
bade.     Dish,  ye,  knee,  each,  teach. 

Faith,  fade,  fasten,  separate,  nourish,  cherish,  tui- 
tion. 

Cat,  bat,  jack,  jacket,  bad,  pad.  Tick,  wick.  TJiin, 
king,  give,  gift,  forgive,  arithmetic.     Shall,  shanfy,  shad. 


68  WRITING   EXERCISES. 

His^  has^  list,  last,  mist,  mast,  wist,  rasp,  hist,  hast, 
fact,  fancy ^  than. 

Deed,  did,*  heal,  hill,  tveal,  tvill,  meal,  mill,  seal,  till, 
reel,  ril,  wreak,  rick,  reed,  rid,  heed,  hid,  heat,  hit,  weed, 
wit,  wisdom,  seen,  sin,  keen,  kin. 

Deep,  dip,*  reap,  rip,  weep,  weak,  wick,  leak.  Barrel, 
bar,*  parrot,  part,  garret,  guard,  carry,  car,  tarry,  tar. 

He  did  the  deed.*  TJiey  paid  for  the  fish.  If  ye  had 
faitli  as  a  grain  of  mustard-seed,  ye  should  say  to  tliis 
mountain.  Be  ye  removed,  and  be  ye  cast  into  the  sea,  and 
it  sJiould  obey  you. 

Beat,  bet,  pate,  pat,  pet.  Beak,  pick,  beck,  big,  beg, 
peg.  Lack,  talk,  nook.  Dip,  top,  nap,  sack,  tack. 
Dog,  dig,  dim,  tame,  dumb,  numb.  Came,  game,  name, 
same. 

Keg,  dead,  debt,  edged,  etched,  jet,  caged,  dated. 
Edited,  noted. 

Crig,  cake,  deed,  did,  cog,  pip,  pop,  publish,  baptism, 
judgment. 

Non,  says,  cease,  unended,  nonentity,  fifty,  five,  thither. 

Shovel,  sheaf,  fish.  Sometimes,  seldom,  sold.  Sun, 
notion,  mission,  sadness,  send,  occasion. 

Nonsensical,  business,  Johnson,  lemon,  insufficiency, 
inefficiency,  insincere,  multitude,  darkness. 

*  Note.  —  The  long  vowel  in  deed  is  distinguished  from  the 
short  vowel  in  did  by  writing  the  former  in  the  full  form,  and 
using  the  hook  for  the  latter.  The  '^  is  distinguished  from  the  " 
in  this  way  wherever  convenient ;  but,  in  other  cases,  the  hook  is 
made  larger  for  the  long  vowel  than  for  the  short.  The  same 
principle  applies  to  the  letters  u  and  o ;  the  hook  being  larger 
when  written  for  y  than  when  written  for  w. 

{^See  Readinrj-Lessom,  paragraplis  33,  37,  and  38.) 
EXEBCISE   FOCBTEENTH. 

Iota,  Iowa,  curious,  geology,  geography,  individual. 
Deist,  theism,  being,  seing,  owing,  knowing,  viewing,  al- 
lowing, alliance. 


CONSONANTAL  DIPHTHONGS.         69 

Idea,  Indiana,  meridian,  meander,  serial,  really, 
aerial,  ideality. 

Saying,  conveying,  allaying,  creation,  arraying. 

Doing,  ivooing,  cooing,  Louis. 

Science,  scientific,  vowel,  avowal,  dual. 

Society,  variety,  piety,  sighing,  renewal. 

Tlie  science  of  geology  unfolds  many  curiosities. 
Geography  is  a  science  of  much  value,  conveying  a 
knowledge  of  all  states  of  society,  with  all  the  vaHous 
customs  of  different  nations.  An  aerial  voyage  must 
give  delightful  vieivs  of  landscape  scenery.  Individuals 
materially  augment  their  importance  by  advantageous  al- 
liances. Ideality  and  materiality  are  really  quite  various 
in  conceptions  of  spirituality. 


C^IAPTER    VII. 

CONSONANTAL    DIPHTHONGS. 

103.  All  the  words  in  the  language  may  be  written 
in  accordance  with  the  principles  explained  in  the  pre- 
ceding chapters.  It  is  very  desirable  to  avoid  all  un- 
necessary complication  ;  and  the  art  could  doubtless  be 
rendered  serviceable,  to  some  extent,  without  adding  any 
new  principles.  As  we  have  already  signs  for  all  tlie 
sounds  in  the  language,  it  would  be  unphonetic  to  add 
Other  signs  to  represent  these  sounds  as  simple  elements, 
and  it  would,  besides,  lead  to  great  perplexity  in  their 
use.  Nothing  further  would  be  needed  in  theory,  or 
tolerable  in  practice,  if  some  sounds  were  not  blended 
together,  and  uttered  with  one  impulse  of  the  voice. 
Some  of  these  diphthongal  sounds  are  composed  of  I  or 


70  INITIAL  COMPOUNDS. 

r,  preceded  by  a  stronger  letter,  b,  p,  g,  k,  &c.,  as  in 
pry,  play-,  gloio,  grow,  &c.  The  letters  pr,pl,  gr,  and  gl, 
are  uttered  with  one  impulse  of  the  voice. 

Another  class  are  composed  of  s,  followed  by  j)-,  k,  t, 
f,  m,  w,  I,  and  w,  as  in  the  words  spy,  sky,  stay,  &c. 
To  these  may  be  added  the  sound  of  wh,  as  heard  in  why. 

104.  It  adds  both  to  the  rapidity  and  to  the  legibility  of 
the  writing  to  give  these  diphthongal  combinations  dis- 
tinctive signs.  This  becomes  more  important  in  hurried 
writing,  where  obscure  vowels  are  omitted ;  for  it  enables 
the  reader  to  determine  instantly  a  word  that  might 
otherwise  be  indefinite. 

Remark.  —  The  representation  of  two  consonant  sounds  by 
one  letter  is  not  at  all  new  in  language.  The  ancient  Greeks  had 
the  double  letters  stigma  erndpsi,  the  German  has  zet  (tset),  and 
in  Latin  and  English  we  have  x  ;  all  of  which  letters  repre^^ent 
combinations  less  important  than  those  of  the  Z,  r,  and  s  series  given 
below. 

105.  It  is  convenient  both  in  theory  and  practice  to 
dis*^^inguish  between  the  use  of  these  compounds  in  the 
conmiencement,  and  their  use  in  the  end,  of  syllables. 
They  are  more  perfectly  diphthongal  in  the  first  case, 
and  it  is  more  important  that  they  should  be  properly 
distinguished. 

So  all  compounds  are  divided  into  two  classes,  —  the 
initial  and  the  final.  All  of  those  called  initial  occur 
also  as  final ;  but  the  final  compounds  are  not  all  initial. 
We  treat  first  of  the  class  of 

INITIAL   COMPOUNDS. 

106.  The  ?-series  initial  are  hi,  pi,  gl,  kl,  and  fl;  the 
r-series  initial,  hr,pr,  gr,  kr,  dr,  tr,fr,  thr,  and  shr. 


INITIAL  COMPOUNDS.  71 

They  are  represented  by  modifying  the  signs  already 
known,  as  follows  :  — 

hU  pit  gl->  kl,  Jl,  br,  pr,  gr,  kr,  dr,  tr,  fr,  thr,  shr. 
It  will  be  noticed  that  the  hook  is  on  the  rig-ht  for  the 
^-series,  and  on  the  left  for  the  r-series.  It  is  incon- 
venient to  write,  a  hook  on  the  back  side  of  a  curved 
letter ;  hence  the  ^  is  hooked  for  Jl,  instead  of  the  ) . 
So  also  ^  is  hooked  for  shr  instead  of  f.  The  letters 
JP  awiX  y' should  be  noted  as  irregular,  and  will  need 
especial  attention  in  practice. 

107.  The  s-series  initial  are  the  following  :  — 

r  V  --  ^  r    ^  rj  o^ 

sp,  sk^  st,   sf^  sm,  sn,  si,   sw. 

It  will  be  noticed  that  the  circle  is  on  the  right  side  of 
I  and  \,  on  the  upper  side  of  —  and  ,^  ,  and  on  the 
inside  of  the  curves.  When  these  signs  occur  in  the 
middle  of  a  word,  special  rules  are  observed  as  follows  :  — 

Case  1.  —  Between  two  straio-ht  letters  in  the  same 
direction,  the  circle  retains  its  original  position. 

Case  2.  —  Between  straio;ht  letters  that  make  an  anfjle, 
it  is  always  on  the  outside  of  the  angle,  as  J—,  bestow, 

3^^^  obscure. 

Case  3.  —  Between  a  straight  and  a  curved  line,  the 
circle  is  always  on  the  inside  of  the  curve.  (See  Read- 
ing-Lessons, paragraph  67.) 

When  o^  is  medial,  the  hook  of  the  c^^  appears. 

108.  The  letter  s  precedes  the  diphthongal  sounds  of 
the  I  and  r  series  in  a  few  cases,  forming  triphthongs. 


72  DIRECTIONS  FOR  PRACTICE. 

They  are  the  following :  — 

n^'H  ^^\   and    /-c- 
8j9^,  spr,  scr,  str. 

Remark  1.  —  In  the  case  given  above,  where  three  letters  unito, 
as  in  the  words  spread,  street,  &c.,  it  would  seem  as  proper  to  con- 
sider the  sp  the  diphthong  as  the  pr ;  but  the  forms  given  above 
are  the  most  convenient.  The  ''~>>  joins  to  preceding  letters  more 
conveniently  than  the  circle  would  do.  In  all  cases  where  the 
s-series  is  followed  by  the  /  or  r  series,  it  yields  to  them,  and 
the  s  is  written  in  its  alphabetic  form. 

Remark  2.  —  The  circle  should  not  be  made  inside  of  the  hook, 
as  it  is  in  Phonography.  The  fuller  forms  are  more  convenient 
and  facile. 

Remark  3.  —  When  s  is  preceded  by  a  vowel  in  the  commence- 
ment of  a  word,  the  long  sign  is  used,  except  in  a  few  cases  after 
the  letter  o, 

DIRECTIONS    FOR    PRACTICE. 

1.  Read  Exercises  Ten  and  Eleven  in  the  end  of  the 
book.  2.  Drill  on  the  compounds  of  the  I  and  r  series 
until  you  are  as  familiar  with  them  as  with  the  alphabet. 
3.  Write  the  following. 

exercise  fifteenth. 

Bl^  pi,  gl,  kl,  fl.  Blow,  'ploy-i  plow,  glow,  clew,  clay, 
claim,  gleam,  blame,  disclaim,  emblazon,  enclose,  displace, 
flow,  fled,  influx,  reclaim,  declaim,  reply,  apply,  appli- 
cation. 

Br,  pr,  gr,  hr,  dr,  tr,  fr,  thr,  shr.  Brotv,  brown, 
brain,  breeze.  Preach,  principle,  proper,  pretences. 
Gnat,  greatness,  gravity,  grievance.  Crown,  creep, 
crockery.  Drive,  trial,  trivial.  Frame,  from.  Three. 
Shrewd.     Apprehend,  April. 

In  the  beginning,  God  created  the  heavens  and  the  earth. 
Greatness  and  glory  shall  crown  the  achievement.  Truth 
crushed  to  earth  shall  rise  again.     That  shrewd  and 


QU,    AND  THE   COMPOUNDS   WITH   W.  73 

tlirivinrj  man  of  business  gives  freely  for  every  improve- 
ment. TJiougli  his  j^owers  of  comprehension  were  not 
considered  very  brilliant,  yet  he  apprehended  our  design 
with  little  explanation. 

4.  Drill  on  the  characters  of  the  s-series,  and  write  — 

EXEKCISE   SIXTEENTH. 

Sp,  st,  sJc,  sf,  sm,  sn,  si,  sw.  Spare,  spoil,  speak. 
Stay,  stand,  stiff.  Sky,  sketch,  skiff.  Sphere,  spherical, 
sphinx.  Small,  smite,  smith.  Snow,  sneer.  Slough, 
slim.     Siveep,  swear. 

Inspiration,  instances,  insphere,  ensnare,  enslave,  un- 
swerving. Espy,  estate,  escape,  hemisphere,  dismiss,  dis- 
locate. 

Give  especial  attention  to  small  things.  Observe  the  s  in  sphere 
and  hemisphere,  in  escape  and  landscape,  in  state  and  estate,  in  spy 
and  espy,  &c. 

Sp',  skr,  str,  spl.  Spray,  spread,  spring.  Screen, 
scroll,  scribble.  -Stray,  street,  strive.  Splendor,  resple7id- 
ent,  explain.  Sapple,  sickle,  sicker,  supper,  sadder,  suitor. 
Stir,  spear,  scare,  spool,  frown.  Spring,  screen,  splint, 
scrawl,  stick,  stake,  speak,  streak,  strike,  smoke,  destroy, 
distress,  prosper,  express,  describe,  descry,  subscribe,  dis- 
grace, disclaim,  discreet,  exclaim,  disclaimer,  discriminate, 
disagree. 

QU,    AND   THE   COMPOUNDS   WITH    W. 

109.  The  digraph  tvh  represents  a  very  close  diph- 
thong, if,  indeed,  it  may  not  properly  be  considered  a 
simple  sound.  It  has  for  its  first  element  the  sound  of 
h,  and  for  the  second  a  whispered  sound  of  w,  not  heard 
in  English,  except  in  combination.  The  second  sound  in 
the  diphthong  qu  is  the  same ;  and,  when  ^  is  used  for 
this  sound,  it  should  be  noticed  that  this  letter  has,  in  this 
combination,  a  less  vocal  sound  than  when  it  is  initial. 

7 


74  FINAL  COMPOUNDS. 

The  combinations  tw,  thtv,  dw,  and  ffw,  end  with  tlie 
same  sound,  except  that,  when  iv  is  preceded  by  d  and  */, 
it  partakes  in  a  measure  of  the  vocahty  of  these  letters  ; 
but  when  combined  with  q,  t^  and  h^  it  is  assimilated  to 
them,  and  becomes  a  whispered  sound. 

110.  We  have  given  only  one  distinctive  sign  for 
these  combinations;  wha^  written^jj/,  differing  from <:^ 
in  one  respect  only.  The  hook  of  the  wha  is  heavier. 

The  others  are  written  as  follows  :  — 


gw^       qu,     diVy       tiv^       thw. 

EXERCISE   SEVEKTEENTH. 

TF%,  wliile^  where^  wherein^  wherever^  wherefore^ 
which,  wharf,  whale,  wheel,  whiff,  whip,  tohelm,  when, 
whence,  whenever,  tvhensoever,  wheresoever,  whereas, 
wliereat,  tvhereinto,  whereof,  whereon,  whirl,  whisper. 

Quick,  quiet,  quarrel,  quench,  quill,  quail,  quart,  quay, 
quarry,  qualify,  quality,  quantity,  quarto,  querulous, 
quickness,  quiesce,  quietism,  quietly,  quietness,  quietude, 
quo  animo,  quota,  quoth,  quo  warranto. 

Equal,  aqueous,  equality,  equiform,  equiformity,  equip, 
equipage,  acquire,  acquiring,  equity,  acquiesce,  aqueduct, 
squeak,  squeamish,  squeeze,  sway. 

Dwell,  dwarf,  ticit,  twist,  language,  thwart. 

FINAL   COMPOUNDS. 

111.  The  compounds  of  the  I,  r,  and  «  series  occur 
in  the  end  of  syllables  as  well  as  at  their  commencement. 
Though  less  perfectly  diphthongal  in  this  case  than  when 
initial,  it  is  convenient  in  uiany  cases  to  use  them,  since 
they  are  already  memorized. 


FINAL  COMPOUNDS.  75 

All  the  compounds  of  the  I  and  r  series,  pven  as 
initial,  occur  also  in  final  syllables,  and,  besides  these,  the 
following :  — 

dl,  tl,    vl,  7il,  vr,  y'r,  dr,  nr. 

The  use  of  these  signs  in  final  syllables  is  not  uniform. 
Their  use  depends  entirely  upon  convenience.  If  pre- 
ceded by  a  consonant,  as  in  the  words  member,  temple^ 
tender,  &c.,  their  use  is  generally  convenient,  though 
not  always.  Preceded  by  vocals,  they  are  to  be  used 
only  when  they  do  not  interfere  with  vocalization. 

Examples. 

3  a  5-       c        2.  "^        »= 

«-  S        S       <      5  -^     ^ 


aq 


o 


Remakk.  —  We  wish  to  draw  a  strong  line  of  demarcation 
between  those  consonant  combinations  that  commence  syllables 
and  those  that  end  them.  Most  of  the  foraier  are  provided  with 
distinctive  signs,  as  shown  in  the  preceding  section.  Their  use, 
however,  is  unvaried  and  invariable.  The  diphthongal  sound  is 
always  represented  by  the  diphthongal  sign ;  hence  no  indefi- 
niteness  can  result ;  and  the  writer  can  use  these  signs  with  the 
same  freedom  as  the  simple  letters. 

When,  however,  final  compounds  are  introduced  to  represent 
final  syllables,  for  example  the  final  syllable  of  the  word  member 
a  difficulty  is  introduced.  If  all  final  syllables  ending  in  br 
were  written  with  the  compound  *]  ,  the  practice  would  be  perfect- 
ly simple ;  but  the  word  neighbor,  for  instance,  is  more  easily  writ- 
ten with  the  full  form  of  the  letters,  thus :  ^~~\/  • 


76 


WRITING  EXERCISES. 


The  final  syllables  do  not  present  a  true  diphthong.  Compare 
the  English  meter  and  the  French  metre.  The  French  pronounce 
the  Ir  as  though  it  commenced  the  syllable :  we  do  not. 

We  have,  then,  final  compounds,  which  we  can  conveniently  rep- 
resent by  the  signs  of  the  I,  r,  and  s  series,  in  some  cases,  but 
which,  in  other  cases,  are  not  convenient.  If  confounded  with  the 
initial  series,  they  would  throw  a  degree  of  indefiniteness  over  the 
use  of  those  letters,  which,  iu  their  proper  use,  arc  invariable. 

EXERCISE    EIGHTEENTH. 

Note.  —  The  student  will  notice  that  some  of  the  words  in  the 
second  column  are  to  be  written  with  simple  letters,  and  some 
with  the  diphthongal  signs. 


Initial  Compounds. 

pi,  employ. 
bl,  emblem. 
kl,  incline. 
gl,  gliih. 

dl, . 

tl, . 

vl,- , 

fl,  inflame. 
nl, . 

br,  embrace. 
pr,  emprize. 
gr,  engross. 
kr,  increase. 
dr,  redress. 
tr,  retrace. 


It  SERIES. 


fr,  infringe. 
jr, ■ 


Final  Compounds. 

ample. 

tumble. 

fickle. 

regal. 

medal. 

metal. 

oval. 

awful. 

kennel. 

ember. 

temper. 

anger. 

anchor. 

rudder. 

writer. 

over. 

suffer. 

oneasure. 


WRITING   EXERCISES.  i  t 

shr,  enshrine.  uslier. 

<Jr^ .  oilier. 

thr,  enthrone.  anther. 

nr, .  sooner. 

Play,  pray.,  idla,  dry,  glow,  grow,  eagle,  glee,  upper, 
hray,  tray,  dray,  utter,  try,  plow,  prow,  blew,  brew,  clew, 
accrue,  glue,  grew,  tattle,  tatter,  people,  peeper,  pajjal, 
jyaper.  Babel,  babber,  fickle,  figure,  local,  looker,  maker, 
table,  tabor,  steeple,  steeper,  chapel,  cheaper,  trouble, 
drabble,  trapper,  trooper,  broker,  platter,  prattle,  clutter, 
battle,  batter,  flow,  fro,  oval,  over,  through,  either,  initial, 
essential,  treason,  pleasure,  ambrosial,  brother. 

Treble,  terrible,  traitor,  Tartar,  frame,  farm,,  odor, 
adore,  utter,  attire,  seeker,  secure,  idle,  dull,  glow,  goal, 
clay,  coal,  flow,  follow,  evil,  volley,  fritter,  f err eter,  break, 
bark,  breath,  birth,  frail,  furl,  trade,  tardy,  blubber,  jnl- 
fer,  gutter,  guitar,  crier,  currier,  boulder,  bladder,  jjlaid, 
pallid,  peal,  plea,  pale,  play,  Saturday,  stride,  2>urpose, 
propose,  torpor,  trapper,  bravjl,  barrel,  crave,  carve. 

/Sujyple,  supper,  sable,  sabre,  settle,  setter,  sickle,  sicker, 
struggle,  streamer,  scribble,  scrujjle,  distress,  prosper,  ex- 
press, expressive,  extra,  exclahn,  disgrace,  describe,  dis- 
agreeable, describer,  strata,  2>(^^try,  disclaim,  disclose, 
sooner,  suitor,  suttle,  sphere,  suffer,  safely,  saf^r,  sever, 
swivel,  sparrow,  spray,  spar,  saddle,  sadly,  sagely,  an- 
cestor, ancestry,  impostor,  imply,  impolite,  employ,  impel, 
temple,  temper,  tamper,  tempter,  trample,  prompter, 
trump,  tra)np,  plump,  shrink,  shriek,  scream,  scrawl, 
improve,  impress,  impervious,  imperial,  implead,  im- 
pelled. 

Rkmauk.  —  Those  accustoraed  to  the  license  in  the  use  of  these 
characters  which  is  permitted  in  Phonograpliy  will  notice  that  the 
compound  is  used  in  Tachygraphy  only  when  the  letters  unite 
without  an  intervening  vowel.  Though  the  use  of  these  com- 
pounds in  final  syllables  leads  to  some  indefiniteness,  the  difficulty 


78  THE  S  SERIES  FINAL. 

ia  increased  many  fold  when  these  signs  are  used  in  such  words  as 
bill,  dear,  &c.,  where  the  letters  are  separated  by  full  vowels.  This 
should  never  be  done  in  Tachygraphy. 

THE   S  SERIES   FINAL. 

112.  The  sounds  of  «  or  z  blend  \yith  all  the  letters 
cF  the  alphabet,  except 

(    (  -^  ^  6/"    ^  ^   c_  and  c^ 

Since  z  only  can  unite  with  a  semi-vocal,  and  s  only 
with  a  whispered  sound,  the  circle  may  be  used  for 
either  z  or  s. 

We  use  s,  in  the  common  spelling,  for  z  in  such  words 
as  heads,  hags,  &c.  ;  and  even  z  for  s  in  quartz.  Since 
only  z  can  unite  with  d  and  g,  and  only  s  can  unite  with 
t,  these  sounds  become  definite.  So  we  have  the  follow- 
ing compounds  ending  in  z  : 

hz,  gz,   dz,  vz,  Qz,  mz,     nZy     Iz,     rz. 
and  the  following  endincj  in  8 : 

I  \o     -^     ^  "^    ^^    _^  ^ 
pB,  ks,   ts,  J^8,  ths,   ns,   Is,   rs. 

It  will  be  noticed  that  7,  n,  and  r  take  either  2  or  « 
after  them,  as  in  false,  falls,  worse,  wars,  hence,  hens. 

To  distinguish  z  from  8  after  these  letters,  the  circle  is 
made  heavy  for  z,  and  light  for  s,  as  seen  in  the  exam- 
ples above.  This  is  not  necessary  in  ordinary  practice, 
but  may  be  done  when  special  accuracy  is  desirable. 

113.  When  «  is  preceded  by  e  short  (represented  by 
the  light  dot),  the  circle  may  be  used  as  though  no 


WRITING  EXERCISES,  79 

vowel  occurred.  In  this  case,  the  dot  is  placed  near  tlie 
middle  of  the  full-sized  character,  to  which  the  circle  is 
added  so  that  it  will  belong  to  the  first  consonant  in  such 
words  as  test^  rest,  &c. 

E:ilamples. 

^     .^     .^      ..^      /X^      Jr- 

best,       test,       rest,        zest,   impressed,   lesson. 

EXERCISE   NINETEENTH. 

Shrubs,  shreds,  shrugs,  loaves,  seems,  seals,  seas, 
hopes,  hats,  books,  hoofs,  hence,  else,  horse,  west,  crest, 
prest,  distressed,  request,  carelessness.  He  is  stern, 
steady,  and  stoical.  The  slow  snail  slides  smoothly  along 
his  slippery  way.  Whence  come  wars  and  fightings 
among  you?  He  accepts  the  office,  and  attempts  by  his 
acts  to  conceal  his  faults.  For  the  hundredth  time  he 
spoke  of  lengths,  breadths,  ividths,  and  depths.  Amidst 
the  mists  and  coldest  frosts,  with  barest  wrists  and  stoutest 
boasts,  he  thrusts  his  fists  against  the  posts,  and  still  in- 
sists he  sees  the  ghosts.  A  storm  ariseth  on  the  sea.  A 
model  vessel  is  struggling  amidst  the  tvar  of  elem.ents, 
quivering  and  shivering,  shrinking  and  battling  like  a 
thinking  being.  The  merciless,  racking  whirlwinds,  like 
frightful  fiends,  howl  and  moan,  and  send  sharp,  shrill 
shrieks  through  the  creaking  cordage,  snajyping  the  sheets 
and  masts.  The  sturdy  sailors  stand  to  their  tasks,  and 
weather  the  severest  storm  of  the  season. 


CHAPTER  VIII. 

THE    OMISSION    OF   VOWELS. 

114.  In  ordinary  conversation,  and  even  in  oratorical 
discourse,  many  vowels  are  pronounced  very  obscurely. 
To  give  them  their  full,  proper  sound  would  be  consid- 
ered a  needless  precision,  and  would  rather  offend  the 
car  than  add  to  the  beauty  of  the  declamation. 

These  sounds  embarrass  the  phonetician.  If  he  writes 
the  sounds  fully,  and  reads  accordingly,  he  is  too  pedan- 
tic. If  he  attempts  to  represent  these  obscure  sounds 
in  all  their  minute  shadings,  he  multiplies  signs  to  his 
own  embarrassment,  and  to  the  utter  confusion  of  the 
great  multitude,  who  have  less  appreciation  of  the  deli- 
cate shadings  of  the  sounds  of  the  language. 

Were  it  our  design  to  develop  a  litei'ary  style  of 
writing,  whose  chief  excellence  was  to  consist  in  the  ac- 
curacy with  which  it  represented  the  sounds  of  the  lan- 
guage, we  should  have  but  little  hope  of  bringing  the 
subject  within  the  reach  of  all.  But  the  following  rides 
will  be  found  extremely  simple,  and  lead  to  a  style  of 
writing  sufficiently  accurate  for  all  the  ordinary  purposes 
of  life.  If,  for  any  purpose,  it  should  be  desirable  to 
write  any  thing  more  accurately,  all  the  vowels  shoidd 
be  written  fully. 

The  omission  of  a  few  vowels,  as  indicated  here,  can- 
not embarrass  the  reader,  as  it  will  very  seldom  happen 
that  the  outlines  will  be  left  equivocal. 

It  must  be  distinctly  understood,  that  the  following 

80 


THE  OMISSION   OF  OBSCURE  VOWELS.  81 

rules  are  for  the  more  advanced  writer,  and  that,  while 
the  adept  can  dispense  with  all  vowels  that  do  not  con- 
nect readily,  the  less  skilful  Tachygrapher  will  do  well 
to  write  all  except  those  that  are  so  obscure  as  to  be 
somewhat  indefinite. 

Rule  1.  Omit  all  obscure  vowels  ;  as,  for  instance,  the 
0  in  mason,  nation,  lesson,  &c.,  the  final  e  in  lessen,  lesser, 
level,  &c.,  the  iou  in  contagious,  &c. 

EXERCISE    TWENTIETH. 

Omit  the  vowels  in  the  final  syllables  of  the  following 
words :  — 

Centre,  enter,  winter,  fester,  letter,  ever,  never,  river, 
pepper,  gospel,  barrel,  novel,  coral,  pastor,  parlor. 

Immortal,  parental,  triumphal,  eternal,  diurnal,  aban- 
don, demon,  razor,  major,  minor,  rumx>r,  terror,  mirror, 
censor,  citron,  piston,  canon,  dictator,  testator,  envelope, 
develop. 

Anonymous,  ungenerous,  analogous,  motion,  action, 
unction,  mansion,  proposition,  arithmetician,  academi- 
cian, physician,  adventitious,  unpropitious,  susjncious, 
brazier,  glazier,  p7vficsion,  allusion,  opinion,  civilian, 
disunion,  collier,  familiar. 

Ambition,  rotation,  caution,  negation,  fashion,  vision, 
relation,  oration,  emission,  nation,  p)assion,  probation, 
erection,  reckon,  arrogation,  organ,  confession,  ovation, 
lotion,  perception,  determination,  deception,  dissipation, 
exception,  exhibition,  perturbation,  selection,  silken,  liken, 
rational,  notional,  mission,  provisional,  effusions,  emis- 
sions, institutions,  investigations,  instigation,  transactions, 
consideration,  contortion,  affection,  rejection,  dejection, 
emulation,  inclination,  recreation,  direction,  station^  sta- 
tions, reformation,  reservation,  demonstration,  confisca- 
tion,  exclusion,   seclusion,   construction,  resolution,  com- 


82        OMITTING  DOT  AND    DISJOINED   VOCALS. 

prehension^  preparation,  assumption,  operation,  reduc- 
tion. 

Rule  2.  Omit  the  dot  vowels  wlicn  not  initial. 

Remark.  —  In  words  of  infrequent  occurrence  it  is  often  well 
to  use  the  dot,  and  in  many  short  words.  Words  of  one  syUable 
require  vocalizing  more  carefully  than  words  of  two  or  more  syl- 
lables ;  and,  generally,  the  longer  a  word  is,  the  more  easily  vowels 
may  be  spared.  This  remark  applies  to  all  the  rules  for  omitting 
vowels. 

Rule  3.  Omit  all  vowels  that  do  not  readily  join  in 
the  outline,  except  in  short  words  of  infrequent  occur- 
rencfi,  or  when  initial. 

EXERCISE   TWEKTY-FinST. 

Omit  the  dot  vowels  in  the  following  words  :  — 

Banishment,  "punishment,  instrument,  sentiment,  com- 
pliment, dialect,  intellect,  pungency,  currency,  regency, 
decency,  potency,  fluency,  orient. 

Buffet,  tablet,  ticket,  docket,  sonnet,  billet,  garret,  &c. 
Congress,  witness,  fortress,  &c.,  careless,  homeless,  need- 
less, baseless,  &c.  Defensive,  oppressive.  When,  whence, 
hence,  &c. 

Insert  the  dot  vowel  in  the  following  words :  — 

Every,  edify,  edible,  etch,  ebony,  epsom,  elf,  &c.  Err, 
air,  &c.     Sair,  fair,  care,  &c.   - 

Omit  the  disjoined  vowels  in  the  following  words :  — 

Addition,  emission,  condition,  furnish,  garnish,  tar- 
nish, decision,  recognition^  composition. 

Miscellaneous. — Carefulness,  faithfulness,  gra/:eless- 
ness,  composure,  consequence,  composition,  condensation, 
lamentable,  constitutionality,  concomitant,  non-committal. 

A  true  gentleman  is  Q-od''s  servant,  the  tvorWs  master, 
and  his  own  man ;  his  virtue  is  his  business  :  Jus  study 


WEITING   EXERCISES.  83 

his  recreation ;  contentedness  Jiis  rest,  and  happiness  his 
reward.  God  is  his  father,  and  the  Church  his  mother  ; 
the  saints  his  brethren;  all  that  need  him  his  friends.  He 
is  necessitated  to  take  the  world  in  his  way  to  heaven  ;  but 
he  walks  through  it  as  fast  as  he  can. 

Rule  4.  Unaccented  vowels  in  long  words  may  be 
sometimes  omitted,  even  when  they  could  be  joined  in 
the  writing. 

This  rule  applies  to  most  of  the  frequently  occurring 
prefixes  and  affixes  of  derivative  words,  such  as  com  and 
con  with  all  their  compounds,  decom,  discom,  discon,  &c., 
circum,  contra,  &c.,  with  the  terminations  ing,  ed,  es, 
ness,  less,  &c. 

Examples, 


com.    con.  discom.    discon.  decom.     decon.  contra. 

The  Tachygrapher  will  notice  that  the  use  of  the  vowel 
is  frequently  an  aid  in  the  formation  of  the  outline,  and 
should  be  very  careful  not  to  omit  voAvels  that  are  neces- 
sary on  account  of  forming  better  angles. 

EXERCISE   TWENTY-SECOND. 

Notwithstanding,  nevertheless,  remarkable,  uncondi- 
tional, disconnectedly,  accommodating,  unconstitutional- 
ity, comprehensive,  apprehensive,  persuasory,  persuasive, 
persuade,  disquiet,  peculiarity,  linguist,  vanquish. 

Passing, facing, racing,  rising,  hissing,  guessing,  being, 
beings,  having,  loving,  living,  moving,  teaching,  touching, 
canvassing,  knoioing,  weighing,  laughing,  quaffing,  com- 
meyicing,  convincing,  composing,  confessing,  supposing, 
accordingly. 


84        OMISSION   OF   VOWELS   IN   SHORT  WORDS. 

In-com-plete^  in-constant^  in-com-bmtible,  incompat- 
ible^ incompeteyicy,  incomprehenslb/.e,  inconceivable,  incon- 
clusiue,  incongruity/,  inconsiderable,  inconsistent,  incon- 
venience. Uncommon,  unconjined,  uncommunicated,  un- 
concerned, unconscious.  Dis-coin-pose,  discommode,  dis- 
concert, discontent,  discomposure. 

Disparity,  principality,  incomprehensibility,  barbarity, 
dexterity,  credulity, fragility,  majority,  locality, frugality, 
vulgarity,  inseverity,  servility,  liberality,  morality,  immo- 
rality, cordiality,  humility,  temerity,  minority,  criminality, 
sensuality,  inequality,  recklessness,  carelessly,  wickedness, 
indebtedness,  impressiveness. 

THE    OMISSION     OF    VOWELS    IN     SHORT    WORDS    OF    FRE- 
QUENT   OCCURRENCE. 

115.  It  is  better  to  write  tlie  vowels  in  words  of  one 
syllable  in  most  cases ;  but  there  are  a  few  brief  words 
of  so  frequent  occurrence  that  they  become  too  familiar 
to  need  vocalization.  The  student  may  memorize  the 
following,  and  write  them  as  they  are  given  on  the  top 
of  page  14  of  the  Reading-Lessons. 

Be,  go,  can,  could,  come,  do,  done,  to,  of,  for,  from, 
sliould,  shall,  is,  so,  some,  though,  they,  that,  them,  then, 
there,  may,  many,  on,  any,  not,  unto,  we,  were,  one,  he, 
her,  you,  your,  when,  where. 

Remark.  —  Some  persons  may  wish  to  increase  this  list  for 
their  own  private  writing ;  but  it  is  very  desirable  that  only  recog- 
nized abbreviations  of  this  kind  should  be  introduced  into  general 
correspondence.  The  widest  experience  strengthens  the  convic- 
tion that  it  is  safer  to  err  by  vocalizing  too  much  than  too  little ; 
yet  the  writer  that  wishes  a  fair  degree  of  speed  should  make  the 
most  of  the  abbreviations  given,  and  not  fall  into  the  loose  habit 
of  using  the  vowel  at  one  time,  and  omitting  it  at  another.  This 
remark  will  apply  also  to  the  briefer  forms  given  in  subsequent 
L-haptcrs. 


CHAPTER    IX. 

PHRASE-WBITING. 

116.  The  one  distinguishing  glory  of  our  common 
chirography  is  its  continuity.  We  may  write  a  line 
without  lifting  the  pen  from  the  paper,  if  we  omit  to  dot 
the  Vs  and  to  cross  the  Vs.  This  freedom  of  running 
one  letter  into  another,  and  one  word  into  another,  adds 
greatly  to  the  ease  of  writing,  and  mitigates,  to  some 
extent,  the  cumbersomeness  of  the  letters  employed.  It 
would  be  desirable  to  imitate  the  common  script  in  this 
respect.  In  Tachygraphy  we  are  able  to  do  so  to  bet- 
ter advantage  than  in  any  previous  style  of  short-hand. 
The  few  disjoined  vocals  are  omitted,  so  that  the  pen 
need  not  be  raised  to  insert  a  vowel  one-tenth  as  fre- 
quently as  it  is  necessary  to  do  so  in  the  common  writ- 
ing to  dot  Vs  andy's  or  cross  Vs. 

It  is  allowable  in  Tachygraphy  to  join  words  together 
into  phrases  very  frequently.  Examples  of  such  phrases 
will  be  found  on  the  13th  page  of  the  Reading-Lessons. 
The  student  should  study  this  page  thoroughly,  before 
attending  to  the  following  pi'inciples. 

The  propriety  of  uniting  words  in  writing,  in  any 
given  case,  is  to  be  determined  by  the  convenience,  1st, 
of  the  writer,  2d,  of  the  reader. 

1st,  The  convenience  of  the  writer  demands  that  the 
words  unite  either  with  a  good  angle,  or  without  an 
angle.  If  the  first  word  end  in  u  vowel,  or  the  second 
word  begin  with  a  vowel  that  cannot  be  joined,  it  is  often 

8  86 


86  PHKASE -WRITING. 

necessary  either  to  disjoin  the   words,  or  to  omit  the 
vowel. 

The  writer  is  not  aided  by  making  too  long  forms : 
long  phrases  detract  from  the  speed  of  writing  more 
than  they  add  to  it. 

The  convenience  of  the  writer,  then,  demands,  a, 
that  the  words  joined  shall  make  good  combinations  and 
facile  forms ;  6,  that  the  phrases  shall  be  so  brief  and 
simple,  that  they  shall  not  embarrass  the  writer. 

2d,  The  convenience  of  the  reader. 

An  observance  of  the  above  principles  will  aid  the 
reader ;  but,  besides  these,  it  is  essential  to  ease  in  read- 
ing phrases  that  no  words  be  joined  that  are  separated 
in  speaking  by  a  pause  of  any  kind.  It  is  not  sufficient 
that  the  common  marks  of  punctuation  be  observed : 
it  is  equally  important  to  observe  where  a  good  reader 
pauses,  and  what  words  are  united  in  sense.  And  here 
it  will  be  observed  that  there  are  several  degrees  of 
closeness  in  the  union  of  words.     We  have,  —  ' 

First,  a  class  called  adverbial  phrases,  that  seem  to 
form  in  sense  one  word.     Such  are  the  following  :  — 

In  fine,  in  short,  no  doubt,  in  fact,  in  truth,  to  be  sure, 
hy  chance,  &c. 

Second,  The  preposition  and  its  object  are  closely 
united  in  sense. 

Examples. 

To  them,  of  this,  from  that,  for  one,  with  me,  through 
i'lem,  &c. 

Third,  The  pronoun  and  the  verb. 

Examples, 
lam,  I  have,  you  are,  he  is,  they  can,  we  may,  who 
wish,  &c. 


WRITING   EXERCISES,  87 

Fourth,  The  same  phrases  in  the  interrogative  form, 
have  I?  are  you  ?  &c. 

So  we  might  specify  many  other  forms  of  speech 
which  may  form  phrases  properly.  But  such  details 
would  only  embarrass  the  writer.  If  the  words  unite  a; 
all  in  sense,  or  are  not  positively  separated  in  s{)eech, 
they  may  be  joined,  in  writing,  into  phrases  of  con- 
venient length,  so  far  as  they  join  readily.  If,  on  the 
contrary,  they  are  the  most  closely  united  in  sense,  and 
do  not  join  easily,  or  form  long  and  cumbrous  phrases, 
they  should  be  disjoined  in  writing.  The  student  must 
rely  for  a  time  upon  the  phrases  given  in  the  Reading- 
Lessons,  and  those  indicated  in  the  following  exercise, 
and,  so  far  as  he  forms  phrases  for  himself,  study  sim- 
plicity and  brevity,  avoiding  every  long  phrase  or 
awkward  combination. 

*  EXERCISE    TWEXTT-THIED. 

(1.)  Of  the,  on  the,  to  the,  to  a,  of  it,  of  this,  of  that, 
of  me,  to  me,  to  know,  to  do,  with  this,  with  that,  for  this, 
for  them,  from  it,  from  them,  in  this,  in  such,  in  fact,  in 
fine,  in  short,  in  truth,  on  me,  on  any,  in  the,  in  no 
way. 

(2.)  I  am,  I  shall,  I  do,  I  can,  you  are,  you  may,  you 
could.  He  will,  he  should,  he  has.  We  knoiv,  we  love, 
we  learn.  They  shoidd,  they  are,  they  ought.  It  is,  it 
was,  it  may,  it  can,  it  has.  The  way,  the  time,  the  day, 
the  present.      There  are,  there  may  be. 

(8.)  Would  you,  would  they,  could  we,  can  we,  can 
they,  shall  toe,  could  you,  can  he,  catinot  be. 

(4.)  It  seems  to  be,  ought  to  be,  in  the  world,  if  there 
is.  It  ivouldnot  be,  with  reference  to,  it  is  impossible,  it  is 
necessary,  it  is  unnecessary.     On  account. 


88  WRITING  EXERCISES, 

(5.)  Let  it  he  known^  come  unto  me^  give  them  tlieir 
choice. 

My  son.,  forget  not  my  law,  but  let  thine  heart  keep  my 
commandments ;  for  length  of  days,  and  long  life,  and 
peace  shall  they  add  to  thee.  Let  not  mercy  and  truth 
forsake  thee  ;  bind  them  about  thy  neck  ;  write  them  upon 
the  table  of  thine  heart;  so  shalt  thou  find  favor,  and  good 
understanding,  in  the  sight  of  God  and  man. 

Trust  in  the  Lord  with  all  thine  heart,  and  lean  not  to 
thine  own  understanding.  In  all  thy  ways  acknowledge 
him,  and  he  shall  direct  thy  paths. 

Note.  —  See  paragraph  92  of  the  Reading-Lessons,  in  the  end  of  the 
book. 

I  shall  be  there  to-day.  We  wish  to  see  you.  So  far 
from  that,  one  sJimdd  choose  some  other  road  to  happiness. 
They  never  know  the  cause  of  their  calamities. 

ABBREVIATED   WORDS    AND    PHRASES. 

117.  Remark.  —  We  have  given,  in  paragraphs  93  and  94*  of 
the  Ileading-Lessons,  a  few  abbreviated  forms  for  some  words  and 
phrases,  of  frequent  occurrence,  whose  fully-written  forms  are  too 
long  for  note-taking.  They  should  not  be  considered  as  forming 
any  necessary  part  of  the  common  style,  as  it  can  be  Avritten  with- 
out them.  Yet,  if  thoroughly  mastered,  they  will  add  somewhat  to 
the  speed  of  writing  for  those  who  care  to  employ  them. 

KEY   TO    PARAGRAPH    93. WORD-SIGNS. 

And,  as,  has,  have,  this,  what,  had,  would,  which,  will, 
been,  ye,  who. 

Notes. — And  is  written  by  a  half-length  >_-'  made  heavy; 
mhn/,  had,  and  would,  by  halving  the  stem  of  their  first  letter. 
Have,  ye,  and  who  are  written  with  the  vowel-sign,  omitting  the 
consonant;  as,  7ins,  and  this  employ  the  circle  for  z  and  s  ;  been  is 
written  with  the  first  letter  only,  and  which  and  will  by  the  last 
letter. 


WRITING    EXERCISES.  89 

KEY   TO    PARAGRAPH    94,  TO    BE   USED    AS 

WKITING-EXEKCISE    TWENTY-FOUUTH. 

As  well  as^  as  soon  as,  as  we,  has  been,  have  been,  you 
have,  you've,  we  have,  we've,  I  have,  I^ve.  They  will 
be,  you  toill  be,  we  shall  have  been.  This  is,  this  is  not  to 
be,  and  they  were,  as  they  say,  as  some  say,  for  instance, 
at  first,  at  once,  to  be  sure,  to  have  been,  and  it  is  said, 
what  ivould  be,  ivhat  lead  been,  ivho  woidd  be,  who  are,  ye 
are,  at  ivldch,  to  which  it  is. 

What  is  it?  had  it,  had  it  not  been,  would  it  not  be? 
This  icill  be.  Come  unto  me,  all  ye  that  labor  and  are 
heavy  laden,  and  1  will  give  you  rest.  Take  my  yoke  upon 
you  and  learn  of  me,  for  I  am  meek  and  lowly  in  heart, 
and  ye  shall  find  rest  unto  your  souls. 

Rkmakk.  —  The  last  six  pages  of  tbe  Reading-Lessons  will  fur- 
ther illustrate  the  use  of  phrase-signs,  both  in  their  simple  and 
more  contracted  forms.  We  add  a  Key  to  a  part  of  pages  1 5  and 
IC,  to  serve  as 

WRITIXG-EXERCISE    TWENTY-FIFTH. 

A  Distinction.  —  A  Roman  ecclesiastic,  in  reply  to 
whatever  question  might  be  proposed,  begaii  by  saying, 
"  Distinii;uo,"  —  I  make  a  distinction.  .  A  cardinal,  hav- 
ing invited  him  to  dine,  proposed  to  derive  some  amuse- 
ment for  the  company  from  the  well-known  peculiarity 
of  his  guest ;  and,  saying  to  him  that  he  had  an  impor- 
tant question  to  propose,  he  asked,  "  Is  it,  in  any  cir- 
cumstances, laufal  to  baptize  in  soup?^'' — '•'•  I  make  a 
distinction,^^  said  the  prieM :  "■  if  you  ask.  Is  it  lawful  to 
baptize  in  soup  in  general,  I  say,  No  ;  but  if  you  ask.  Is 
it  lawful  to  bajjtize  in  your  Excellency' s  soup,  I  say.  Yes  ; 
for  there  is  really  no  difference  between  it  and  water." 

Impediments  to  Reform.  —  When  George  Stephen^ 
son  ivas  jjresenting  the  claims  for  the  first  locomotive  to 
the  British  Parliament,  lie  was  sneered  at  by  many  mem- 
bers.   Said  one  of  them,  "  Well,  Mr.  Stephenson,  see  how 

8* 


90  THE  VARIABLE  LETTERS. 

absurd  your  idea  is  !  Suppose  it  ivere  possible  for  you  to 
run  your  carriage  thirty  miles  an  hour,  on  straight  rails, 
so  that  it  could  not  get  off,  —  ivhat  if  a  coiv  got  on  the 
track,  and  you  could  not  turn  out  for  her?''"' — "  Well,  my 
lords^''  said  Stephenson,  "  it  would  be  bad  for  the  cow." 


CHAPTER   X. 

THE   VARIABLE    LETTERS. EQUIVOCAL  WORD-FORMS. 

118.  One  element  in  tlie  simplicity  of  Tachygraphy 
consists  in  avoiding,  so  far  as  possible,  equivocal  foi-ms 
for  words.  They  cannot,  however,  be  wholly  avoided. 
A  difference  of  outline  is  rendei'ed  possible  if  the  word 
contains  any  letter  that  can  be  written  in  more  tlian  one 
way  ;  and,  if  a  word  contains  two  or  more  variable  let- 
ters, the  forms  it  is  capable  of  assuming  increase  in  geo- 
metrical ratio.  Thus,  in  Phonography,  a  word  contain- 
ing the  letters  s,  t,  r,  d  (e.  g.,  stride,  storied,  Saturday, 
«&c.),  may  assume  twenty  different  forms,  since  two  of 
these  letters  have  more  than  -one  form,  and  all  may  be 
combined  with  others  in  various  ways. 

This  indefiniteness  is  reduced  in  Tachygraphy  to  the 
narrowest  limits  by  relying  upon  fixed  principles  in  the 
use  of  equivocal  letters,  so  that,  though  several  forms 
might  be  possible,  the  proper  form  will  generally  be  ob- 
vious at  once. 

VARIABLE  letters. 

119.  The  variable  letters  are  f'   J  and  y',  which 


THE   VAUIABLE   LETTERS.  91 

are  written  either  upward  or  downward;  and  "^^  and  ^  , 
wliicli  are  reversed  into  \^  and  V^. 

When  f~  ^  and  /'  are  written  upward,  tliey  are 
called  Ma^  La,  and  Ita  ;  when  written  downward,  they 
are  called  Em,  El,  and  Ar. 

Whether  the  upward  or  downward  forms  of  these 
letters  should  be  used,  is  a  question  to  be  determined 
wholly  by  convenience  ;  but  this  convenience  is  deter- 
mined by  the  following  principles  :  — 

EM,    EL,    AR,    MA,    LA,  AND  RA. 

120.  It  is  desirable  that  that  form  should  be  used,  that, 

1.  Joins  most  readily,  and  forms  the  most  graceful 
and  facile  word-form  ;  and  that, 

2.  Best  corrects  the  tendency  of  the  other  letters  to 
run  too  far  above  or  too  far  below  the  line  of  writing. 

1.  These  letters  connect,  a.  with  vocal,  h.  with  con- 
sonantal letters. 

a.  (1.)  After  o  ^  ^  ^  and  r  Ma  is  used. 

Em  always  follows  c  • 

Ma  is  used  before  i  i  v  and  a  .  With  other  vocals, 
Em  and  Ma  are  equally  convenient. 

(2.)  After  -  and  -  El  is  used  ;  and  after  i  La. 
La  is  also  used  before  c  u  ^  /  a  and  ^  ;  and  El  be- 
fore f^  ^  and  y  .  With  other  vocals.  El  and  La  are 
equally  convenient. 

(3.)  Ra  is  used  before  c  o  w  •  *•  ,  and  after  «  ^  u  u  v 
and  A.  ^r,  only,  follows  c  -  and  -  .  In  other  cases, 
Ar  and  Ra  are  equally  convenient. 

When  r  commences  a  word,  Ra  is  almost  always 
used. 


92  SPECIAL   CASES. 

b.  When  the  direction  of  these  letters  is  determined 
by  their  union  with  other  consonant  letters,  they  are 
written  upward  both  before  and  after  all  the  down 
strokes,  and  before  the  hooked  letters  Wa,  Ya,  Sa,  Cha, 
and  Ja.  With  the  horizontals,  that  direction  should 
generally  be  preferred  that  makes  the  acutest  angle. 
Thus  we  use  Ar  after  De,  Te,  Ja,  and  Cha,  and  lla  after 
Ze  and  liJs.  We  write  Ma-Te,  however,  when  11  is  ini- 
tial, although  Ar-Te  would  make  an  acuter  angle. 

SPECIAL   CASES. 

121.  (I.)  When  r,  not  initial,  is  followed  by  d  or  t,  in 
such  words  as  curd,  recurred,  recorded,  discord,  &c.,  the 
Ar  makes  more  facile  and  compact  forms  than 
Jla.  It  will  be  often  safe  to  use  the  Ar  in  this  way 
even  in  words  like  regard  and  record,  where  the  vowel 
must  be  omitted. 

(2.)  When  rd  or  rt  follows  ^  or  ^  ,  in  such  words 
as  word,  ward,  heard,  &c.,  the  Ar  is  always  convenient. 

(3.)  In  words  like  hurl,  whirl,  &c.,  it  will  be  seen 
that  Ha-Ra-El  is  better  than  Ua-Ar-La.  So,  in 
world,  we  write  Wa-Iia-JEl-De. 

ITII    AND   THE,  TIIA    AND    QA. 

122.  The  inversion  of  the  alphabetic  letters  Ith  and 
TJie  adds  very  much  to  the  beauty  of  outline  and 
facileness  of  form  of  the  class  of  words  containing  these 
sounds.  They  occur  less  frequently  than  the  variable 
letters  mentioned  above,  and  their  use  is  determined  by 
the  same  principles  of  combination  as  those  that  decide 
whether  £1,  Em,  and  Ar,  or  Ma,  La  and  lla,  are  prefer- 


ACUTE  ANGLES    PREFEKRED.  93 

able.  They  are  the  following,  and  are  capable  of  uni- 
versal application,  —  to  vocals  as  well  as  consonantals,  — 
so  far  as  any  letter  may  be  varied  to  produce  better 
angles.  ' 

PRINCIPLES   DETERMINING   THE   USE    OF   VARIABLE 
LETTERS. 

123.  The  principles  of  joining,  given  in  paragraphs 
73  to  83,  are  the  basis  of  the  following  applications  :  — 

We  have  (a.)  Straight  lines  joined  with  straight  lines. 
(5.)  Straight  lines  joined  with  curves,  (c.)  Curves 
joined  with  curves. 

(a.)    RIGHT   LINES   JOINED. 

(] .)  Straight  lines  that  unite  without  an  angle  are 
most  convenient.  Hence  Ra  is  struck  upward  after  Ra^ 
Wa,  Sa,  and  W7ia,  when  no  other  principle  interferes. 
As  we  have  seen  in  paragraph  121,  this  principle  is  over- 
come by  another  equally  important  in  cases  where  —  or 
—  follows  R  ;  namely,  — 

(2.)  Acute  angles  are  to  be  preferred  to  obtuse  angles. 
Now,  HorAr-Te  gives  us  two  acute  angles,  and  Ha-Ra- 
Te  only  one  angle,  hut  an  obtuse  one;  an4,  in  this  case, 
we  prefer  the  two  acute  angles  to  the  one  obtuse  angle. 
In  the  words  hurt  and  heard,  this  principle  applies ;  but, 
in  the  word  huri'ied,  we  may  relieve  the  obtuse  angle  by 
inserting  the  last  vowel,  and  so  use  Ra  instead  of  Ar. 

Remark.  —  The  use  of  a  vowel  may  often  relievo  a  bad  angle, 
even  in  cases  where  there  are  no  variable  letters,  except  the  vocals. 
This  is  seen  in  such  words  as  ticL;  back,  rid,  width,  hid,  ichit,  &c. ; 
and  it  is  a  great  error  to  omit  the  vowel  in  such  words,  for  it  not 
only  leaves  the  word  indefinite,  but  produces  a  form  more  inconve- 
nient for  the  writer  than  the  fully  vocalized  forms. 


94  FACING    CURVES. 

(6.)    RIGHT    LINES   JOINED    TO    CURVES. 

(1.)  Here  we  have  only  acute  angles,  if  any  at  all, 
since  the  obtuse  angles  are  rounded  off,  and  disappear. 
And  here  an  acute  angle  is  preferred,  in  some  cases, 
to  those  forms  that  exclude  the  angle.  Notice  the  use 
of  the  vocal  in  the  words  form  and  dollar,  in  Exercises 
Twelfth  and  Thirteenth,  and  the  use  of  Ef-lia-Ma,  in- 
stead of  Ef-Ar-Ma,  in  firm,  firmly.  Be-El  and  Te-El 
is  preferred  to  De-La  and  Te-La ;  but  there  is  no  diffi- 
culty in  writing  De-Itli. 

(2.)  As  the  dash-vocals  must  always  make  angles 
when  joined,  they  are  more  frequently  omitted  with  the 
curves  than  with  the  right  lines, 

(c.)      CURVES  JOINED    WITH    CURVES. 

These  are  distinguished  into  (1.)  facing  curves,  (2.) 
opposing  curves. 

(1.)  When  curves  are  of  such  directions  that  they 
would  make,  if  straight,  an  obtuse  angle,  they  should  be 
facing  if  possible.  We  prefer,  for  instance,  Es-Iih  to 
Es-  Tlia. 

And  facing,curves  are  better  also  with  right  or  acute 
angles,  for  then  they  unite  into  half-cii*cles  or  ellipses. 
Facing  curves  are  always  convenient. 

(2.)  Opposing  curves  are  convenient  when  in  the 
same  direction,  for  they  may  unite  without  angles,  as  in 
the  case  of  Es-En. 

Opposing  curves  whose  lines  of  direction  would  form 
right  or  acute  angles  are  tolerable  ;  but  opposing  curves 
whose  lines  of  direction  would  form  obtuse  ann;les  are 
to  be  avoided  if  possible. 


WRITING   EXERCISES.  95 

By  reversing  the  direction  of  E)n  and  El,  we  change 
the  direction  in  which  the  curve  faces.  La-En  are 
curves  facing  in  the  same  direction.  El-En  are  oppos- 
ing curves.  So  in  any  case  where  the  sounds  of  I  or  rn, 
ill  or  (T,  occur,  they  may  be  changed  so  as  to  form  facing 
curves,  if  desired.  So  tlie  use  of  variable  characters, 
which  seems  to  be,  from  one  point  of  view,  a  necessity, 
and  tolerable  only  as  necessary,  becomes  one  of  the 
greatest  means  of  securing  grace  and  beauty  of  outline. 

Remark.  —  We  give  for  the  fii-st  part  of  Writing-Exercise 
Twentj-sixth  a  Key  to  Reading-Lessons  Twelfth  and  Thirteenth. 
The  student  should  first  write  the  exercise  without  referring  to  the 
reading-lesson,  and  then  compare  his  exercise  with  the  printed 
forms,  and  correct  his  errors. 

EXERCISE    TWEXTT-SIXTH. 

(See  page  10  of  the  Reading-Lessons.) 

73.  Melanclioly,  mellijiuous,  multiplication,  multitude, 
merit,  mellow,  meritorious,  territory,  tariff,  military. 

74.  Remark,  remove,  re-arrange,  raiment,  relative, 
learn,  large,  lark,  look,  lower,  leer,  lyric,  lost. 

75.  Toll,  tall,  soul,  Saul,  howl,  hall,  liole,  hill,  cold. 

76.  Aim,  name,  fame,  blame,  am,  ham,  dam,  lamb, 
dame,  lame,  deem,  seem,  stream,  ream,  scream^  memory, 
remember,  freedom,  kingdom,  random,  amendment,  rarefy, 
mirror,  murmur,  miller,  dollar,  horror,  redeemer,  reclaim-, 
er,  clamor,  brigadier. 

77.  Wlien  Freedom  from  her  mountain  hoigtm 
Unfurled  her  standard  to  the  air, 

She  tore  the  azure  robe  of  night, 
And  set  the  stars  of  glory  there. 

She  mingled  with  its  gorgeous  dyes 
The  milky  baldrick  of  the  skies, 
And  striped  its  pure  cehjstial  white 
With  stroakin<is  of  the  morninj;  lijihi 


96  CONCLUDING   INSTRUCTIONS. 

78.  Form,  formal,  fifm,  firmly,  reform,  deform,  in- 
form, misform,  familiar,  familiarity,  dissimilarity,  hu- 
mility. 

79.  Letter,  Utter,  literal,  lateral,  latterly,  alter,  leader, 
elder,  easel,  easily,  vassal,  tassel,  seldom,  soldier,  Phila- 
delphia. 

80.  Alienate,  million,  rebellion,  companion,  failure. 

81.  Epicure,  occupy,  manual,  residue,  purify,  curious, 
endure,  nature,  refuse,  union,  unite,  re-unite,  ubiquity, 
reward,  rewarder,  rehearse,  rejoin,  moonlight,  twiliyht, 
homeward,  lampblack,  journal,  heirloom. 

Disciplinarian,  contradictory,  metropolitan,  arithmeti- 
cal, mathematical. 

Improve,  ambition,  Pm,  aim,  motive,  mutter,  lay,  land, 
longitude,  lewd,  loud,  lee,  linnet,  lowered,  fold,  foul,  full. 

Hay,  radical,  roll,  ran,  irrelevant,  architecture,  arri- 
val, Ireland,  arouse,  various,  carrier,  ream,  hymn,  raise, 
risk. 

Wear,  fair,  rare,  hair,  tory,  weary,  year,  your,  chair, 
germ,  jeer,  cherry,  tarry,  attire,  tare,  dare,  infidelity, 
telegraphy. 

Athens,  writhe,  soothe,  tooth,  wisheih,  meaneth,  soweth, 
feareth,  theft,  theist,  atheist,  isothermal,  cesthetic. 

The  way,  the  heart,  the  portion,  the  first,  the  best,  the 
easiest,  the  right,  the  glory,  the  blessing. 


CHAPTER    XL 

CONCLUDING     INSTRUCTIONS. 

124.  Having  explained  and  illustrated  all  the  princi- 
ples that  enter  into  this  style  of  the  art,  it  only  remains 
for  us  to  add  a  few  miscellaneous  instructions,  and  fur- 
ther directions  for  practice. 


WHEN  THE   SA.ME   CONSONANT  IS   REPEATED.     97 

The  student  has  learned  to  omit  all  silent  letters,  and 
to  employ  the  proper  phonic  signs  for  each  sound;  but 
some  cases  of  difficulty  may  still  occur.  We  notice  a 
few  special  cases. 

WHEN    THE   SAME   CONSONANT   IS    REPEATED. 

a.  In  this  case,  in  such  words  as  opportunity^  attend, 
annual.,  &(;.,  it  is  customary  to  write  only  one  p,  one  t, 
and  one  n.  And  so  almost  universally  only  one  conso- 
nant is  written  in  Tachygraphy,  Avhen  the  letter  is 
repeated  in  the  common  orthography. 

There  are,  however,  a  few  cases  where  both  letters 
are  clearly  sounded.  In  such  cases  both  should  be  writ- 
ten, as  in  the  words  wholly,  fully,  misstate,  unnecessary, 
unnatural. 

In  words  commencing  with  the  prefixes  il  and  im,  as 
illegal,  immoral,  the  I  and  m  are  sounded  twice,  and  may 
be  written  twice  in  Tachygraphy ;  but  it  is  not  neces- 
sary to  legibility. 

h.  The  letter  n  has  several  varieties  of  sound.  Be- 
fore the  sound  of  g  hard,  it  approximates  very  nearly 
to  the  sound  of  Ing,  and  is  written  with  this  letter. 
Examples,  —  language,  longer. 

Before  k  and  c  it  has  a  lighter  nasal  sound,  which  is 
also  written  by  Ing  ;  though  this  letter  does  not  express 
the  sound  very  accurately.  Examples,  —  hanh,  succinct. 
The  true  sound  of  Ing  is  heard  when  the  g  blends  with 
the  n  and  is  lost  in  it,  as  in  sing,  song. 

Remark. — It  will  be  noticed  that  the  letters  ng  are  pro- 
nounced in  three  ways,  as  in  the  words  'iing,  singe,  longer ;  written 
with  Ing,  En-Ja,  and  En-Ga. 

9 


98  PUNCTUATION. 

c.  Tlie  letter  c  has  four  different  sounds,  as  in  the 
words  come^  ace,  ocean,  and  suffice,  —  the  sounds  of  Ka, 
E8,l8}i,  and  Ze. 

d.  Tlie  letter  x,  which  is  generally  sounded  liks  ks, 
has  sometimes  the  sound  of  Gz,  —  extra,  exalt. 

PUNCTUATION. 

125.  All  the  marks  of  punctuation  may  be  used  in 
Tachygraphy  as  they  are  used  in  the  common  writing, 
except  the  dash,  which  should  commence  with  a  waved 
line  to  distinguish  it  from  the  letter  Te. 

The  dioiresis  and  apostrophe  are  not  used ;  and  the 
hyphen  is  made  as  in  the  German,  thus  ". 

MANUAL    DRILL. 

126.  If  the  student  has  attended  faithfully  to  the  pre- 
ceding principles,  he  will  know  how  to  write  correctly 
nearly  every  word  in  the  language.  But  he  should  not 
be  disappointed  to  find  that  his  attention  to  principles 
has  interfered  with  his  practice,  and  left  him  with  a  more 
theoretical  than  practical  knowledge  of  Rapid  Writing. 
He  should  now  review  the  whole  ground,  and  endeavor 
to  gain  the  skill  in  manipulation  necessary  to  rapidity 
of  writing.  To  aid  him  in  this,  we  offer  the  following 
directions :  — 

a.  Train  the  fingers,  if  necessary,  by  such  exercises  as 
are  given  by  teachers  o^  Penmanship.  Some  practice  in 
lonjT-hand  writing  is  necessary  to  give  freedom  of  motion. 

It  is  absolutely  necessary  that  the  writer  feel  perfectly 
free  to  use  his  pen  as  he  chooses.  He  must  unite  a 
degree  of  carelessness  with  his  carefulness,  to  secure  any 


MANUAL    DRILL.  99 

grace,  and  freedom  of  form.  To  secure  this  result,  let 
lilm  scribble  fifteen  minutes  before  every  writing-exer- 
cise, not  loosely,  but  methodically,  using  a  large  variety 
of  exercises. 

b.  Manual  Drills  when  perfected  on  the  old  exercise-^, 
should  be  turned  to  advantage  in  Tachygraphy,  as  fol- 
lows :  — 

(1.)  Drill  on  the  alphabet  as  directed  in  Chapter  IV. 

(2.)  Drill  on  the  combinations  of  the  vocals  with  t!ie 
consonantals. 

(3.)  Join  the  consonants  into  the  most  natural  angles, 
and  learn  to  make  two  letters  without  the  slightest  pause 
between  them. 

Remark.  —  This  will  afford  scope  for  miicb  practice.  The 
teacher  should  draw  up  tables  of  swch  combinations  as  he  may 
deem  most  important,  and  give  a  dozen  or  more  examples  wiih 
each  lesson. 

(4.)  Join  the  consonants  also  that  unite  without  an 
angle,  and  practise  on  them  until  both  strokes  can  be 
struck  as  though  they  were  but  one. 

Remark.  —  It  maybe  well  here  to  select  phrases  containing 
such  joinings,  and  let  the  pupil  drill  on  a  number  of  phrases  until 
he  can  write  them  at  the  rate  of  a  hundred  words  a  minute. 
Most  persons  will  do  this  readily.  We  add  a  few  phrases,  making 
about  a  hundred  words,  which  will  serve  as  a  specimen  of  this 
kind  of  practice. 

EXERCISE    TWEXTT-SEVEXTH. 

To  this  day ^  from  tids  time,  from  that  day,  at  this  time, 
in  some  way,  it  is  not,  he  should  do,  to  tfo  so,  ought  to  do, 
it  ought  to  be.  They  will  he  (Tha-La-Be).  Tliis  is 
not  to  be,  we  shall  have  been,  may  there  be,  lei  there  be. 


100  WRITING   EXERCISES. 

Come  forward^  from  them^from  them  that^from  their 
own,  there  shall  be,  come  unto  me,  give  them  their  oivn, 
we  luish  for  it,  iliowjh  theij  were  not,  try  to  do  so,  is  it  so 
soon  ?  he  cannot  do  less,  we  wish  to  do  so,  you  will  be 
there,  he  was  too  soon,  to  meet,  his  friends. 

Remark.  —  Some  of  these  phrases  are  longer  than  they  should 
generally  be  made.  They  are  given  as  an  exercise  in  manual  drill, 
rather  than  as  models  for  imitation.  If  the  student  finds  some 
dilficulty  at  first  in  getting  through  the  longer  forms,  he  will  find  a 
patient  mastery  of  the  difficulty  conducive  to  speed  in  less  diflicult 
forms. 

(5.)  Practice  on  word-forms,  whenever  there  is  any 
difficulty  in  forming  them,  until  the  hand  can  trace  them 
readily. 

(6.)  All  practice,  after  the  elements  are  mastered,  is 
promoted  by  writing  from  dictation.  The  reader  should 
read  easy  words  and  sentences  just  fast  enough  to  incite 
the  writer  to  his  highest  speed,  without  burdening  his 
memory.  To  make  reading  profitable,  it  should  be 
natural.  In  reading  sentences,  regard  should  be  had  to 
the  sense.*  If  the  reader  attempts  to  accommodate  the 
writer  by  pausing  after  every  word,  no  phrases  can  be 
formed,  and  all  the  value  of  the  reading  will  be  lost. 

Remark.  — The  teacher  should,  if  possible,  spend  some  time  in 
dictating  for  his  class  to  write.  He  should,  at  least,  show  how  this 
work  can  be  done  to  the  best  advantage.  Where  students  are 
without  a  teacher,  it  will  save  time  if  several  can  meet  for  practice, 
either  employing  a  dictator  to  read  for  all,  or  taking  turns  at  dic- 
tation. It  will  frequently  be  well  to  have  each  word  or  ])hrase 
re[)eated  three  times.  This  will  enable  the  reader  to  accommo- 
date writers  of  diOei-ent  degrees  of  ability.  Some  will  be  able  to 
keep  pace  with  him,  others  to  write  the  word  twice,  and  still  others 
only  once  out  of  the  three  times  the  word  or  phrase  is  uttered  by 


FACILITY   iX  HEADING.  101 

the  reader.  The  icords  can  be  repeated  only  where  they  stand 
isolated.  In  reading  sentences,  the  dictator  should  read  clauses 
containing  five  to  ten  words,  and  then  repeat  the  clause. 

Those  who  have  neither  teacher  nor  associates  in  the  study  of 
the  art  should  interest  some  friend  in  reading  for  them. 

(7.)  The  student  who  observes  these  directions,  and 
practises  the  preceding  Writing-Exercises  until  he  can 
write  them  correctly  and  readily,  will  have  a  fair  com- 
mand of  the  style.  If  he  wishes  to  acquire  greater 
speed,  he  should  extend  his  practice,  writing  from  dicta- 
tion (no  other  practice  will  answer  in  place  of  this) 
from  other  books ;  commencing  with  those  of  more  sim- 
ple language,  and  going  on  into  any  field  of  literature 
that  he  may  care  to  cultivate.  Or  he  may  take  notes 
of  lectures  and  sermons.  Some  have  reported  whole 
courses  of  lectures  successfully  by  the  use  of  the  princi- 
ples taught  in  the  Compendium,  in  which  were  intro- 
duced fewer  brief  forms  than  are  given  in  this  work. 
Rest  assured  that  a  speed  of  eighty  or  ninety  words  a 
minute  can  be  attained  in  this  style  sooner,  and  retained 
longer,  than  in  any  other  style  whatsoever.  Speed  in 
any  style  can  only  come  through  perfect  familiarity  with 
the  forms  used. 

FACILITY    IN    READIMG. 

127.  Skill  in  reading,  as  in  writing,  can  come  only 
through  practice.  You  have  in  this  system  word-forms 
that  are  entirely  distinctive.  The  same  form  rarely,  if 
ever,  stands  for  more  than  one  word.  Hence  the  reader 
need  not  rely  upon  the  context,  but  may  always  be  cer- 
tain at  once  of  the  true  reading.  But,  as  the  letters 
become   somewhat    obscured  in  rapid  writing,  he  must 


102  CONC1.USION. 

gain  a  fainiliarity  with  tlie  word-forms.  We  do  this  in 
the  common  print.  We  seldom  stop  to  note  the  letters 
of"  a  word,  but  take  in  its  general  form,  as  we  know  the 
face  of  a  friend  without  noting  the  individual  pccuhar- 
ity  of  his  features. 

CONCLUSION. 

128.  While  we  liave  treated  in  the  preceding  pages, 
as  fully  as  possible,  of  all  the  elements  of  the  art,  we 
know  that  the  student  will  find  a  world  of  beauty  to 
which  we  have  only  pointed  out  the  way. 

The  practice  of  the  art  will  be  an  ever-increasing 
pleasure.  Use  the  time  saved  by  your  skill  in  writing 
in  acquiring  useful  knowledge  and  in  blessing  your  fel- 
low-men. 


APPENDIX 

TO    THE   ELEMENTS    OF    TACHTGRAPHY. 


[The  following  specifications  were  omitted  from  the  first  two  editions 
of  the  work.] 


THE    POSITION   OF    OUTLnTES. 

129.  The  outline  of  a  word  is  its  form  as  it  stands 
on  the  written  page.  It  is  a  question  often,  with  the 
young  writer,  as  to  the  position  which  this  outline  shall 
assume  to  the  line  of  writing.  The  rule  is  very  simple. 
If  the  word  contains  only  one  consonant  stroke,  that  is 
written  so  as  to  rest  on  the  line  of  writing :  that  is,  if 
horizontal,  it  will  be  written  near  the  line ;  if  perpen- 
dicular, or  inclined  downward,  it  will  end  on  the  line; 
if  inclined  and  struck  upward,  it  will  commence  on  the 
line,  and  thus  rest  on  it.  Note  that  the  consonant 
stroke  rests  on  the  line,  and  the  vowel  falls  below,  or 
wherever  its  proper  direction  brings  it. 

130.  If  the  word  contain  two  or  more  consonant 
strokes,  the  outline  rests  upon  the  first  [jcrpendicular  or 
inclined  stroke,  if  it  contain  such  a  stroke  ;  if  all  the 
letters  are  horizontal,  they  are  written  near  the  line. 
So  we  have  the  following  general  rule  :  The  first  per- 
pendicular or  inclined  consonant  stroke  rests  upon 
the  line  of  writing. 

103 


104  APPENDIX. 

131.  In  cases  where  several  horizontal  strokes  pre- 
cede the  inclined  or  perpendicular  one  upon  which  the 
outline  rests,  the  writer  needs  to  consider  whether  to 
commence  on  the  line,  or  above  it.  If  the  stroke  upon 
which  the  outline  rests  is  written  downward,  he  will 
commence  the  word  the  length  of  one  letter  above  the 
line;  if  the  ruling  stroke  is  upward,  he  will  commence 
on  the  line. 

132.  All  strokes  after  the  ruling  stroke  follow  their 
proper  direction,  according  to  the  rules  given  previ- 
ously.    (See  especially  Chapter  X.) 

133.  Where  unruled  paper  is  used,  the  same  princi- 
ple prevails.  The  words  are  always  arranged  with  ref- 
erence to  a  line,  although  no  line  appear. 

The  following  examples  illustrate  the  above  remarks. 
But  the  student  should  notice  the  position  of  outlines 
in  other  examples  scattered  throughout  the  work,  and  in 
the  Readinff-Leesons. 


o 


Examples. 


THE    NEW    SIGN    FOR    WHA. 


134.   We  introduce  with  this   edition    (the  third)    a 
new  sign  for  Wha,  and  have  endeavored  to  make  tlie 


THE   NEW    SIGN    FOR    WHA.  105 

necessary   changes   throughout    the  volume,    where    it 
could  conveniently  be  done. 

135.  a.  The  old  form  was  made  by  enlarging  the 
hook  of  the  Ha^  and  making  it  heavy.  This  produced 
a  character  too  gross  for  rapid  writing,  while  at  the 
same  time  the  hook  on  the  right  of  the  up-stroke  was 
inconvenient  in  phrases. 

h.  The  new  letter  is  made  by  merely  thickening  the 
hook  for  the  Wa ;    thus  :  ©^ 

Remark.  —  This  gives  us  nearly  the  same  form  that  is  used  in  the 
old  Phonography.  Mr.  Pitman  made  a  hook  on  the  left  of  the  Ra, 
to  imply  W  before  R,  and  thickened  this  hook  for  wh. 

136.  The  value  of  the  new  form  will  be  appreciated 
in  such  words  as  where,  why,  lohat,  any-where,  no- 
where ;  and  such  phrases  as  on-w hat-account,  to- 
what,  with-what,  &c.,  as  given  below  :  — 

Remark.  —  We  can  assure  our  friends  that  we  have  no  wish  to 
prosecute  experiments  in  new  forms,  as  the  inventor  of  Phonogra- 
phy has  done  for  so  many  years.  The  success  of  the  art  can  be 
secured  only  through  uniformity,  and  uniformity  can  be  preserved 
only  by  adherence  to  established  forms.  The  era  of  experiments 
has  passed  :  let  it  not  be  revived.  The  time  of  a  whole  generation, 
devoted  to  it  by  the  Phonographers,  has  developed  the  resources  of 
the  art  in  many  directions.  This  work  was  doubtless  necessary, 
but  it  has  borne  fruit  in  wide-spread  and  hopeless  dissensions  among 
the  writers  of  the  old  Phonography.  We  hope,  through  the  favor 
of  God,  to  be  spared  from  a  repetition  of  a  work  already  overdone, 


106  APPENDIX. 

and  trust  tli.it  no  innovator  will  ever  ni.ar  this  style  by  crude  at- 
tempts at  improvement. 

No  letter  of  the  alphabet  has  been  changed  since  the  publication 
of  the  system  in  1864.  The  above  is  our  only  change.  We  have, 
however,  made  some  changes  in  the  briefer  styles,  in  prcparinjT 
them  for  the  press,  which  we  trust  will  render  these  styles  even 
more  complete  and  rapid  than  they  have  been  heretofore  written,  as 
taught  through  the  manuscripts. 

A  reporting  style  must  change  from  time  to  time,  to  meet  new 
exigencies.  Words  and  phrases  are  of  frequent  occurrence  at  one 
time  that  fall  into  comparative  disuse  at  another.  We  do  not  hope 
for  any  absolute  standard  in  the  briefest  forms.  But  the  style  ex- 
plained in  the  preceding  pages  need  not  change,  except  as  the  lan- 
guage upon  which  it  rests  changes,  slowly,  and,  to  most  persons, 
imperceptibly.  We  ask  all  our  friends  to  unite  in  one  purpose  to 
maintain,  not  uniformity  in  the  science  as  expressed  in  books 
merely,  but  —  what  is  more  difficult  of  achievement  —  uniformity  of 
word-forms  throughout  the  brotherhood  of  those  who  cultivate  the 
art. 


THE   VOWBL   U.  —  HOW   WRITTEN. 

137.  There  is  a  degree  of  indefiniteness  in  the  pro- 
nunciation of  this  vowel ;  some  persons  inclining  more 
to  the  use  of  -,  and  others  to  the  use  of  a.  AVe  do 
not  assume  to  settle  questions  of  orthoepy.  We  dis- 
tinguish such  words  as  do  and  dew,  coo  and  cue,  who 
and  hew,  rood  and  rude,  &c.,  by  employing  the  simple 
vowel  -  in  the  former  word  of  these  couplets,  and 
the    A  in  the  latter. 

138.  There  are,  however,  very  many  cases  of  longer 
words,  where  either  -  or  a  may  be  used  according  to 
convenience,  without  any  effort  to  secure  precision  of 
pronunciation.  We  use,  for  instance,  the  -  in  the 
words  conimutiion,  communicate,  renewal,  allusion. 


THE    VOWEL    U.  HOW    WRITTEN.  107 

delusion,  &c.,  although  a  strict  pronunciation  would 
demand  a  ;  and  generally,  where  —  is  more  easily 
written  than  a  ,  it  may  be  used.  The  shorter  sign  is 
generally  to  be  preferred  in  words  of  more  than  one 
syllable,  when  it  can  be  easily  joined  in  the  outline. 

139.  The  letters  J  and  —  join  more  easily  with  -; 
and  yet  the  a,  must  be  used  in  such  words  as  lieuy  lewd, 
lure,  nude.  It  should  be  especially  noticed,  however, 
the  ys  is  never  used  with  ^ ,  except  in  the  word  yew. 
Union,  and  all  words  commencing  with  long  u  before 
which  the  sound  ^  occurs,  are  written  as  though 
spelled  younion,  youniti,  &c. 

140.  This  sound  of  u  is  frequent  in  the  midst  of 
words,  as  also  in  the  termination  -ure. 

Examples. 

occupy    reputation        manumit  natural 

Remakk  1. — The  termination  -ure  is  misunderstood  by  some 
persons.  Wishing  to  avoid  the  vulgar  pronunciation  nachur,  cap- 
chur,  Sec,  they  avoid  also  the  y,  and  write  na-iiire,  cap-ture.  This 
is  an  error.  The  true  sounds  are  nat-yur,  capt-yur.  The  -yur  in 
these  examples  is  to  be  pronounced  so  short  as  to  leave  the  sound 
of  u  nearly  silent. 

There  are  some  words,  however,  in  which  this  termination  is  long, 
as,  for  example,  literature,  caricature.  These  words  have  been 
pronounced  by  good  authorities  without  the  y-sound,  thus  :  lit-er-a- 
iure,  car-i-ca-ture ;  but  I  prefer  to  write  them  with  the  ^,  in 
analogy  with  nat-ure  and  words  of  this  class,  though  the  -ure  may 
be  pronounced  longer  than  in  the  other  cases  mentioned. 

Remark  2.  —  The  affected  pronunciation  of  dyooty  for  duty  is  a 
vulgarism  that  will  be  avoided  by  all.     The  letter  tt^never  has  the 


108  APPENDIX. 

sound  of  yoo  in  the  midst  of  a  syllable  after  a  consonant.  Hence 
the  words  duty,  tune,  and  all  words  of  this  kind,  are  written  with 
the  A  or  -  simply. 

WRITING-EXEECISB   TWENTY-EIGHTH. 

Coo,  cue,  rood,  rude,  mood,  mewed,  setted,  crude, 
hrood,  breioed,  food,  viexoed,  clew,  flew,  slew,  pew, 
crew,  screw,  drew,  shrew,  stew,  jew,  blew,  blue,  suit, 
soot,  cube,  tube.  Lieu,  lure,  nude,  yew.  Renewal, 
allusion,  effusion,  illusion,  delusion,  confusion. 
Union,  unite,  unify.  Communion,  communicate, 
intercommunication.  Duty,  duteous,  dutiful,  beau- 
tiful, tune. 

Reputation,  occupy,  secular,  estuary,  spiritual, 
speculation,  manumission,  manufacture,  nature,  nat- 
iiral,  structure,  literature,  temperature,  caricature, 
horticulture,  agriculture,  agricultural.  Regularly, 
regulation,  graduation,  congratulation. 

ABBREVIATED    FORMS   FOR   -NESS,  -LESS,  AND   DIS-. 

141.  a.  According  to  the  principle  stated  in  sec.  113 
(page  78),  the  circle  may  be  used  for  s  in  the  termina- 
tions -less,  -ness,  -lessness,  -lessly. 

Examples. — Goodness,  witness,  carelessness,  care- 
lessly. 

b.  The  circle  may  also  be  used  in  such  words  as 
access,  success,  and  accession,  succession,  as  in  the 
examples  below. 

142.  In  some  cases,  where  tiie  first  form  of  a  word 
ends  with  the  circle,  and  another  s  or  es  is  added,  as  in 
the  word  witnesses,  it  is  inconvenient  to  add  the  letter 
-'-v.  In  such  cases,  the  circle  may  be  enlarged  to 
twice  its  usual  size  to  indicate  the  added  s. 


ABBREVIATED  FORMS  FOR  -NESS,  -LESS,  ETC.      109 


Examples. 


p 

00 

p 

o 

C 

o 

o 

o 

o 

(t> 

o 

fD 

CD 

<D 

w 

CD 

Oi 

CO 

CO 

O 

143.  In  analogy  with  the  use  of  the  circle  in  discom- 
and  discon-  (as  given  on  page  83),  the  circle  may  also 
be  used  in  the  prefix  dis-  in  such  words  as  discuss,  dis- 
ta7ice,  and  wherever  it  is  more  convenient  than  the  full 
form ;  so  also  in  the  prefix  tnis-  in  misfortune,  mis- 
conceive, &c. 

144.  a.  The  circle  may  also  be  used  in  the  words 
person,  parson,  Johnson,  and  all  similar  words  where 
the  termination  -so7i  follows  r  or  7i  without  an  interven- 
ing vowel;  but  coinparison,  Tennyson,  and  words 
havinof  a  vowel  before  this  termination,  are  written  with 
the  y-^. 

b.  When  to  a  word  ending  with  the  circle  the  termi- 
nation -ing  is  added,  the  circle  is  retained.  The  circle 
is  written,  in  accordance  with  this  rule,  in  the  following 
words ;  tax  taxing,  force  forcing,  nursing,  co- 
alescing, caressing,  witnessing,  and  many  others. 

Remark.  —  These  brief  forms  are  given  as  an  aid  to  those  per- 
sons who  wish  to  gain  a  high  rate  of  speed  in  the  Common  Style. 
Those  who  design  to  pass  on  at  once  to  the  Note-Taker's  Style 
will  learn  the  use  of  the  circle  in  its  more  general  application. 


E.ESSOMS. 


In] 


i 


4.  )  ^^--^c^i_  --,  J  r^  r^._^  w  <^  y. 

s.  V.  N  -X  v-x  <v  1  1  1  r.  c_  ^  ^. 

10.  ^  -J'^J^^.J  J)  J  J  ^  J .  r-  f^^. 


114 

.^       [^       ^        X^        -^v—     . 

19.  .^  .^  ^^  ._    ,v-^  .    ,v-^  ,v->   ^    r^  ? 


-  \>-  \^  n  >'  "7  \r^. 

-7    6/    ^K^',^^^ 


20.  >"    -V    \    I    . 

21.  «^    ^-^^  V,  >^ 

22.  "7   Y^_^^ 

23.  l^  ^   v-^-^    ^^1-    ^-^-i-  ^"^^/^"^/^  _/\  . 

24.  -^  ^  < ^  U-L^^/^L^l^rxi^. 

r"  2-  -^  i^  ^   'P  /Q_  . 


115 


28.  ^  --0  u  u—  -^  ^  y  y\  ^  L 


29 
30 


.^-V- 


L  U 


.^/^  "T   "T 

33.  Ir^   1/^  T    jb  ^  i)u±  V^  — ^^  c^^ 

34,  r;    r^-^  (r^  c .  U   -^   -^"^^ 


r^       ^         ^'     .  <J^      .^  "^         ^--^        . 


,  ^  ^ 


^ 


116 


|jE^^O|^    0\)(T\\. 


"^  "T   -T    T    -1     ^-  -t 


^~~\  ^ 


U  ^    -1     Ly    1^   '—^. 


.-SlT^HN'S   CcOSPEL.    (Dkp.  1. 


117 


43.  L_l/l^^^V_~l"7     ~X^     U. 

44.^     ^    ^^    -^     _^-^     V v_^' >  — 

r^  L^>  \  o.  45.  n  l_  u  u  u. 


46. 


*8-   I     I    \  \ — 

bfcSSotJ   piqtJfhl. 


\\  ! 


51. 


X  — 


I 


.    52. 


53 


■{  -1^1^- 


Ii8 


z 


/^.  --^ — I 

57.  ^  i^  c^-^  r—  ^^  ^x.,<^v^-r 

A  ^ ^  v-;  -^  c^  i  — .  ^  /v.  ^ 

1>,  V  "v^  ,-v^  ~^,  X- — ^,  .-._. —  "^  U^ , 

-^-^ —   "X  V-^  ,    >>-.    d,  .       r^-\,     VI.    9_13. 


jb^do|j  '\^^^. 

119 

58.   f 

r  1 

1    \  \  \  N   ...    .. ; 

5  ^  ; . 

58./ 

3  C 

L  V  \  _,  „  X  \-\-  I   l- 

C-1  V^  Kr-  ^^'  'V^  XT'  ,^^^ 

---^  ,^  --^ 

60.  f 

\<x_5    C  ^  U  ^  .    61.  C"^--^    o 

<^ 

o^ 

^^^  \^  l^j  l^  c^.^ 

^  <-4  ^ 

o<;  o 

^ 

n^  "-t^. 

62.   C 

1 1 

-_c-  e_  (x_  .^..^  __ 

Q A       c ^     • 

63.   I 

\. 

_-     ^     ^    ^   _^   ^.    64. 

«^       ^^ 

"i 

/-^   ^    ^  ^  ^    . 

^^       i^. 

65.    {> 

No 

— e      (^     ^      >^p     -V    v_P    ^ .    66 .  No    \    ^ 

^    "^    ^ 

^-^  J.  ^  ^  [^  u  ^ 

-^. 

^.^   -^      V-i^    -Y^^^^  .  68.    ^ 

69.  V 

c— ^ 

-  7  J   -^    55—'^'  v^ 

—  V^^ — Ir^ 

^:l 

-t 

^   o-,^.^.^..—  .-^,  ^\  »_ 

^ .^-^ 

o.'" 

^\ 

-v---  ^  <;,  v.u___ 

.  ^^.  V 

0.-^ 

_  ^  ^-^0  7  ^  V 

-^ —  ^ 

120 


YO.  ^    ^      --%     .-^-   . 


1^  1-^ .  *V  ^^-j_  "^_  ~^ 
'^  '^-^^  -"-^  ^n^.  ^ 


73.'  "^    .^  l-^L-    '^-v    ^->^    ; 


.  ^- 


V. 


121 


73. 

Q 

74. 


75.  —^  3r  "D  "3?   Iv  uy  .^  ^  \^— . 

76.  ^  ^  ^  i.  r  Z'  ^  S  T  ^  .. 


fur   Country's    i^lagL._-^rtf/«. 

c  -^  ^    1/  -n    )  ^_^ 


122 


81.1,      -^x    ^~.^- ^^^.^    1^   v,^^^^-. 


78 


A^ 


123 


|jb^^o|sl  polJpTfcbfJT^^■ 


83. 


'     '-^       ^^ 


ijl]]3J|J0T]._^r.^. 


^ 


W 


">!       "^ 


124 


86. 


€J. 


V^ 


\^  >— .  y^  y-^r 


2 


87,  _^    <_y^    ^ny   --^-^    — 
~v^    ^v-M    ^-^    ">>_r*~-Vi  • 


90. 


Jdb  jLanuU  io  toe    C  ri^ijs 


X 


125 


126 


^..JT^JJaistinoiion' , 


V. 


^- 


Kr    V 


\. 


127 


-  30  r2)  ^^-^^  ^   ---^   ^, 


r^-^ 


\r- 


Re   ^[§ 


eu-(^y.^^ej>v. 


-^1-, 


•^ 


^ 


128 


iS.    ki 


owev. 


Ten 


^ 


U-  ; 


^    X- 


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THE    ELEMENTS    OF    TACHYCRAPHY. 


"We  give  below  a  few  extracts  from  notices  of  the  Elements  of  Tachygraphy. 
The  Third  Edition  of  this  work,  containing  an  Appendix  and  newly  engraved 
Heading  Lessons,  is  now  ready,  and  may  be  obtained  of  the  Publishers,  Otis 
Clapp  &  Son,  3  Beacon  St.,  Boston ;  D.  Kimball,  P.  O.  Box  398,  Chicago;  and  at 
the  office  of  the  Rapid  Writer,  Andover,  Mass. 


nVOTICES    OF    THDE    I>RESS. 


From  the  Springfield  Bepublican,  Mass. 
Otis  Clapp,  No.  3  Beacon  Street,  Boston,  the  old-time  publisher  of  phono- 
graphic works,  has  just  Issued  a  neat  little  text-book,  entitled  the  Elements  of 
Tachygraphy.  The  system  of  shorthand  developed  in  this  work  is  the  result  of 
years  of  careful  and  critical  investigation.  The  author  was  at  one  time  an  enthu- 
siastic follower  of  Isaac  Pitman,  of  England,  who,  a  little  over  thirty  years  ago, 
reduced  the  arbitrary  stenographies  of  former  ages  to  a  basis  approaching  scien- 
tific accuracy.  .  .  .  Even  with  its  pretensions  to  simplicity,  phonography 
was  found  altogether  too  complex  in  its  arrangements.  First,  the  signs  employed, 
though  universally  acknowledged  as  a  correct  basis,  were  married  to  sounds  ut- 
terly unfitted  for  them.  Instead  of  representing  those  sounds  that  occur  most 
frequently  by  horizontal  strokes,  thus  conducing  to  linealily  of  writing,  a  very 
Important  requisite  of  ease  and  rapidity,  perpendicular  characters  were  sup- 
plied, which,  when  words  were  fully  written,  produced  forms  the  most  awkward 
and  unmanageable.  To  obviate  this,  numerous  devices  of  contraction  were  re- 
sorted to,  which  at  once  destroyed  that  simplicity  so  essential  to  a  system  of 
writing  that  aspires  to  common  use.  In  the  next  place,  vowel  signs  were  discon- 
nected in  the  writing,  much  to  the  detriment  of  speed,  or  were  they  omitted  as 
cumbersome,  ambiguity  inevitably  resulted.  These  were  the  radical  imperfec- 
tions of  Pitman's  Phonography  thirty  years  ago ;  and,  although  its  author  har 
made  numerous  modifications  and  imaginary  improvements  since,  they  still  coiv 
tinue  to  be  the  chief  objections.  This  is  also  the  case  with  Graham  and  Man 
son,  and  several  other  inventors  of  systems  in  this  country,  who,  however  welV 
they  have  administered  to  the  wants  of  a  few  professional  reporters,  have  entirely 
ignored  that  great  class  of  business,  professional,  and  literary  men,  chiefly  to  be 
benefited  by  such  an  invention.  Tachygraphy,  however,  avoiding  these  stum- 
bling-blocks of  its  predecessors,  has  at  last  developed  into  that  Ideal  writing 
which  has  filled  the  brains  of  phoneticians  for  these  many  years.  At  once  the 
very  embodiment  of  grace  and  beauty,  Its  simplicity  commends  it  to  all,  while 
the  results  already  obtained  in  its  practical  use  are  extremely  satisfactory.  The 
hook  before  us  is  devoted  to  the  simplest  style  of  the  art,  which  it  treats  in  a 
thorough  and  comprehensive  manner.  It  ofifers  a  system  of  writing  that  may  be 
readily  written  with  three  times  the  speed  and  one-fifth  the  labor  of  our  common 
longhand,  and  which  is  more  easily  mastered  than  that.  With  suitable  instruc- 
tion it  is  within  the  comprehension  of  the  merest  child,  while  mature  persons, 
though  doubtless  more  secure  of  satisfactory  results  with  the  help  of  a  competent 
teacher,  can  hardly  fail  to  find  it  a  complete  guide. 


From  the  Congregation alist  and  Beoorder,  Boston. 

The  art  of  saving  time  and  trouble  is  a  great  art.  And  of  all  wenrinegg,  that 
of  much  writing  —  to  many,  at  least — most  needs  alleviation,  if  possible.  Short- 
band,  in  various  forms,  has  been  invented  and  taught,  without  coming  into  gen- 
eral use.  Of  late  years  the  system  called  Tachygraphy  (or  rapid  writing)  has 
been  invented,  and  is  believed,  by  those  who  have  made  themselves  acquainted 
with  it,  to  be  destined  to  supersede  every  other  system  of  condensed  writing  in 
meeting  the  wants  of  the  world. 


From  the  Boston  Journal. 

Mr.  Otis  Clapp,  No.  3  Beacon  Street,  has  just  published  The  Elements  of  Ta- 
chygraphy,  a  full  and  compendious  text-book  upon  the  new  and  popular  system 
of  shorthand  originated  by  Mr.  D.  P.  Llndsley,  formerly  of  this  city.  The  sys" 
tcm  has  been  in  use  for  several  years,  and  its  practical  utility  has  been  demon* 
Btrated  beyond  cavil  by  scores  of  writers.  The  principles,  which  are  as  simple 
as  the  multiplication  table,  are  readily  comprehended  by  the  youngest  learner, 
and  can  be  mastered  by  any  one  in  a  very  short  time,  and  without  a  teacher. 
The  system  is  especially  adapted  to  the  wants  of  students  and  literary  men,  in  a 
great  degree  superseding  the  use  of  longhand,  and  it  forms  the  basis  of  a  briefer 
aystem  for  verba^m  reporters. 


From  the  Citizen  and  Bound  Table,  New  York. 
Mr.  David  Philip  Lindsley  has  prepared  a  little  work,  entitled  The  Elements 
of  Tachygraphy,  in  which  ho  explains  an  improved  system  of  shorthand  writ- 
ing. From  a  thorough  examination  of  this  system,  we  have  no  doubt  that  it  will 
entirely  supersede  phonography.  It  is  vastly  more  simple,  can  be  mastered  in  a 
comparatively  short  time,  and  can  be  written  certainly  as  fast,  if  not  faster,  than 
the  system  of  Pitman.  Mr.  Lindsley  inspires  one  with  confidence  in  the  excel- 
lence of  the  art  which  he  has  invented,  by  the  remarkable  clearness  and  brevity 
of  his  explanations.  His  book  needs  only  to  become  known,  in  order  to  ensure 
the  adoption  of  Tachygraphy  in  place  of  the  wearisome  and  difflcult  art  of  Pbo* 
nography. 

From  the  Christian  Standard,  Alliance,  Ohio, 
We  once  tried  to  master  Phonography,  but  found  it  so  intricate  and  perplex- 
ing that  we  could  not  afford  to  bestow  enough  time  and  attention  to  succeed 
But  Mr.  Lindsley  has,  as  Horace  Mann  said,  "phonographied  Phonography,"  and 
it  looks  like  an  attainable  art.  Avoiding  the  contractions  and  word  signs  of  Pho- 
nography, he  teaches  the  student,  as  soon  as  the  alphabet  is  mastered,  to  proceed 
at  once  to  use  the  system.  We  do  not  pretend  to  be  much  of  a  judge,  but  a  pe- 
rusal of  this  book  impresses  us  very  favorably  as  to  the  practicability  and  value 
of  Tachygraphy. 


From  the  Presbyterian  Banner,  Pittsburg,  Pa. 
Tachygraphy  is  the  claegical  title  of  a  manual  of  126  pages,  upon  shorthand 
writing,  by  D.  P.  Lindsley,  published  by  Otis  Clapp,  Boston.  It  is  the  result  of 
twelve  years  of  study  and  practice,  and  it  is  claimed  for  this  system  that  it  is 
written  in  one  fourth  the  time  and  with  one  tenth  the  labor  of  ordinary  writing; 
is  perfectly  legible,  and  for  use  in  the  pulpit  and  lecture-room  is  plainer  than 
longhand  writing,  and  can  be  learned  more  readily  than  common  writing.  These 
considerations  are  sufficient  to  commend  this  system  to  all  literary  men. 


From  the  Northwestern  Christian  Advocate,  Chicago. 

This  excellent  paper,  after  a  long  and  favorable  notice  of  the  art,  and  its  new 
text-book,  makes  the  following  points  in  reply  to  a  correspondent  who  favors 
Graham's  Phonography : — 

"He  (the  critic)  has  simply  compared  Lindsley's  most  elementary  style  with 
the  various  (contracted)  styles  of  other  phonographies.  As  to  '  corresponding 
styles,'  we  believe  that  there  are  none  at  all  comparable  with  that  in  Tachyg- 
raphy. We  indorse  this  because  of  its  use  to  the  masses.  It  is  learned  twice 
or  thrice  as  soon  as  the  same  style  in  the  old  Phonography.  In  the  reporting 
style,  Tachygraphy  Is  not  inferior." 


From  the  Meriden  Daily  Beoorder. 

Our  opinion  of  the  system  of  shorthand  explained  in  this  book  has  been  given 
several  times  before,  and  a  repetition  of  it  now  is  unnecessary.  Let  it  suffice  for 
us  to  say  that  our  conviction  of  the  vast  superiority  of  Tachygraphy  over  all 
other  systems  of  brief  writing  is  stronger  than  ever.  Its  superiority  is  acknowl- 
edged by  all  competent  judges.  Taken  as  a  whole,  it  is  certainly  the  most  per- 
fect shorthand  text-book  ever  published.  We  heartily  indorse  the  most  flatter- 
ing testimonials  in  its  favor.  The  work  is  adapted  to  self-instruction,  but  this 
art,  like  all  others,  can  be  best  acquired  with  the  assistance  of  a  living  teacher. 


From  the  Methodist,  New  Tork. 
We  commend  this  essay  to  learners. 


From  the  Western  Christian  Advocate,  Cin.,  Ohio. 
Thoac  who  wish  to  become  shorthandists  will  find  Mr.  Lindsley's  manual  Just 
the  tiling. 


From  the  £ast  Boston  Advocate. 

After  some  examination  of  this  and  other  systems  of  shorthand  writing,  we 
have  unhepitatingly  given  this  the  preference  over  all  others  as  being  the  mos« 
easily  acquired,  the  simplest  to  write,  and  most  practicable. 


Prom  the  Atlantic  Monthly,  February,  1870. 
We  have  a  real  pleasure  in  speaking  of  this  system  of  shorthand.  Its  prin- 
elples  are  so  clear  and  simple  that  they  can  be  understood  with  an  hour's  study. 
.  .  .  Until  a  writing  machine  is  invented,  Mr.  Lindsley's  system  must  seem  the 
greatest  possible  benefaction.  Phonography  is  a  science  to  which  months  of 
study  must  be  given,  and  in  the  acquirement  of  which  the  memory  is  burdened 
with  a  multitude  of  arbitrary  and  variable  signs;  while  in  Tachygraphy  the 
letters  are  almost  invariable,  and  as  easily  memorized  as  the  ordinary  llomun 
characters;  a  single  impulse  of  the  hand  forms  each  letter;  there  are  as  few 
detached  marks  as  in  the  ordinary  Chirography,  and  the  writing  Is  fluent  and 
easy.  .  .  .  We  feel  certain  that  to  editors,  clergymen,  and  the  whole  vast  and 
increasing  body  of  literary  men,  it  must  prove  a  great  advantage;  and  we  com- 
mend it  to  the  attention  of  teachers  as  a  system  which  might  very  well  bo 
taught  in  schools. 

From  the  Gazette' and  Courier,  Northampton,  Mass. 

TVe  cannot  go  into  a  critical  examination  of  the  merits  of  this  system.  "We 
only  wish  that  all  who  are  groaning  under  the  burdens-  of  our  common  long- 
band,  who  are  vexed  by  the  irregularities  of  our  cumbrous  orthography,  would 
Bcnd  for  and  csamine  this  little  book. 

We  say  nothing  of  the  comparative  merits  of  Phonography.  After  a  ten 
years'  use  of  that  tedious  method,  an  experience  of  three  years  with  this  later 
system  has  made  us,  perhaps,  in  some  measure  qualified  to  speak  in  its  praise; 
and  to  say  that  there  are  good  reasons  for  the  one  becoming,  as  it  fast  is,  aa 
extinct  thing,  and  for  the  other  steadily  coming  into  general  use. 


From  the  Churchman,  Hartford,  Conn. 

The  Elements  of  TACHTGRAPnr,  etc.  —  If  any  person  were  to  say  that 
there  are  contained  in  this  unpretending  volume  the  elements  of  one  of  the 
greatest  intellectual  improvements  of  modern  times,  his  assertion  would  seem 
to  be  extravagant.  Yet  those  who  have  become  familiar  with  the  cystem  of 
rapid  writing,  of  which  ii.r.  Lindsley  is  the  Inventor,  know  that  the  assertion 
ia  true  to  the  letter. 

Every  one  who  is  much  engaged  in  literary  composition  is  painfully  conscious 
that  the  mechanical  labor  needed  in  putting  his  thoughts  upon  paper  becomes  at 
times  an  almost  intolerable  drudgery.     .    .    . 

Many  persons  who  had  written  shorthand  in  the  old  way  for  years,  became 
nearly  discouraged  at  their  slow  progress.  Those  of  them  who  have  practised 
the  system  contained  in  this  volume  are,  without  exception,  enthusiastic  in  its 
praise.  Not  only  will  the  professional  reporter,  aud  they  who  take  notes  of 
addresses,  be  benefited  by  Mr.  Lindsley's  book,  but  also  every  literary  man  who 
has  much  occasion  for  making  memoranda,  or  for  writing  what  he  has  to  deliver 
Jn  public.  The  clergy,  especially,  will  find  the  lime  and  labor  spent  in  mastering 
this  system  amply  rewarded.  W.  S.  B. 


THE   RAPID   WRITER  QUARTERLY. 


TABLE    OF   CONTENTS. 
1  8  71. 


3Vo.  6.  —  January.       page 
Report  on  the   New  Sliort-hand, 
presented  to  the  American  Phi- 
lological Society,  New  York   .  .  81 

The  Cherokee  Alphabet 85 

The  Foundations  of  Despotism. — 

Edward  Everett 86 

Editorial  Items 88 

Correspondence 88 

Literary  Notices 91 

Wo.  7.  — AprU. 

Professional  Reporting' 97 

The  Saxon  Orthography 99 

Rapid  Writing 101 

Chinese  Printing' 103 

Foreign  Correspondence. — Gabels- 
berger's  Stenography 104 

Wo.  8.  — July. 

The  Origin  of  Words.  —  Dan  Saxon  113 

1  8 
Wo.  10. —April.  PAGE 
Where  was  Fusang?  An  Inquiry 
into  the  Settlement  of  the  West- 
ern Coast  of  America,  and  the 
Introduction  of  the  Buddhist  Re- 
ligion by  the  Chinese  in,  or  prior 
to,  the  Fifth  Century  of  our 
Era.  By  Kev.  Nathan  Brown, 
D.  D 1 


Tlie  Sun  an  Emblem.    Beecher  .  .  13 

Editorial  Items 15 

Answers  to  Correspondents  ....  17 

Literary  Notices 18 


Wo.  8  —  continued.         paob 
What  Clergymen  arc  Learning  .  .  115 

Undo  the  Heavy  Burdens 11(5 

Friendly  Neutrality 117 

Various  Replies  to  a  Practical  Ques- 
tion      117 

Editorial  Items l.>0 

Books  and  Periodicals 121 

Wo.  9.  — October. 

The  Origin  of  Words,  No.  3,  writ- 
ten in  Illustration  of  a  New  The- 
ory of  the  Meaning  of  the  Ulti- 
mate Roots  of  Language  ....  129 

Our  Mother  Tongue 131 

Editorial 135 

Extracts  from  Correspondence  .  .  137 

Literary  Notices 138 

Second  Biennial  Address,  by  the 
President  of  the  American  Ta- 
chygraphio  Association 140 

7  S- 

Wo.  11.  —  October.       paok 
The  English  Phonography  —  How 
Managed 19 

The  Relm  of  Language.  Max  Mul- 
ler 23 

Best  Works  for  Study  in  Philology    23 

Ministerial  Work 24 

Self  and  All.    Horace  Greeley    .  .    25 
Elihu  Burritt  and  the  Vowel  C/".  .    27 

Moov  Forward 28 

Editop.ial.- — The  Note-taker;  To 
Old  Phoneticians;  Eight  Styles 
of  Phonogrftphy,  &c. 31 


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Baptist,  New  York. 

"  Devoted  to  the  introduction  of  a  purely  phonetic  system  of  short  hand 
writing.  Tins  subject  cannot  help  receiving  more  attention." — Springfield 
Itepuhlican. 

"  Worthy  of  its  reputation  and  its  mission."  —  Lancaster's  Monthly  Jour- 
nal of  Ileaith.  

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